Gerry Mulligan

I’m fascinated with the electronic devices that we can mess around with.

If you’ve only got one horn playing, I still want the sense of ensemble.

What I came back to is that jazz is a music to be played and not to be intellectualized on.

Life on the road is murder. It’s as though life begins and ends with your horn in your mouth.

I like what I hear other guys doing, but the thing that really attracts me is melodic playing.

In fact, I heard Bird first, and had got well into listening to him. You know, it’s the kind of accidental thing that awareness of a player is: what’s available, what somebody happens to play for you.

I’m just trying to create context for me to improve my musicianship.

Jazz speaks for life. This is triumphant music.

I saw a vibraphone for the first time and knew immediately I had found my means of expression.

I was first awakened to musical exploration by Dizzy and Bird.

Music is the greatest communication in the world.

I remember Glenn Miller coming to me once, before he had his own band, saying, How do you do it? How do you get started? It’s so difficult. I told him, I don’t know but whatever you do don’t stop. Just keep on going.

I started in New Orleans music and played all through the history of Jazz.

[In 1969] I think lyrics have always been important to any serious writer of music.

I adore extravagance but I abhor waste.

I don’t need words. It’s all in the phrasing.

There’s always this sound out there that’s just a little beyond my reach and that just sort of keeps me going.

Jazz translates the moment into a sense of inspiration for not only the musicians but for the listeners.

[On urging Nyro to tell Barbara Streisand that ‘Wedding Bell Blues’ had been personally written for her] It’s not a big lie.

The problem is that a lot of the blues stations are late on Saturday night, and like a lot of people, I ain’t no vampire!

Musicians should never forget we’re blessed. We have a special gift that people enjoy through us.