Jimmy Smith

Choosing people to be on your ‘Sammy Hagar and Friends’ record, you’re going, ‘I’ve got so many friends.’ And so many friends have called me up and said, ‘Come on dude, why didn’t you ask me to be on the record?’ I’m going, ‘Damn, I forgot.’ I really did.

And then when I found my sound, it took me two and a half weeks to find my sound and when I did I pulled out all the stops, all the stops I could find.

Three months. I was playing the organ for three months. It was a challenge for me in the beginning.

Ninety-five percent of my audience was white.

I really feel like I made it a great record. I really feel good about it. In this day and age to make a record that you say, ‘This is different,’ that’s a tough nut. I did it by accident but it got done. I don’t know what I’m doing, but I know how to do it.

People like the idea of the trio and so I did mostly trio.

A guitar is something you can hold and love and it’s never going to bug you. But here’s the secret about the guitar – it’s defiant. It will never let you conquer it. The more you get involved with it, the more you realize how little you know.

I’ve been married twice. Most women would rather not be married to a traveling blues singer.

If you want to make money in music, get into the band uniform business.

I hate to think of Jazz as black and white, something political.

Jazz musicians have some outlaw in them somewhere.

I got out of the car and there was a knife in my neck. The guy says, “Don’t move.” And the drummer got out of the car, and he got a gun in his head. This was my entrance to the South Side of Chicago. But it was necessary, because I wanted to play jazz.

I have music inside me and I’m very lucky to be able to play music and that’s the way that I try to do it.

[on B. B. King] Very seldom does he talks about the way he play, man. He always wanna talk about young women. And I fuss at him sometimes, I say, ‘Man I wanna know what did you do here!’

Everybody that you could name would join in our audiences from, Laguardia on down. Everybody came. Everybody came to the Cotton Club.

Jazz music has always been a place where anything is possible.

I used to play a place in Twist, Arkansas… It used to get quite cold in Twist. And they used to take something that looked like a big garbage pail and set it in the middle of the floor, half-fill it with kerosene. They’d light that fuel and that’s what we’d use for heat… But this particular night, two guys started to fighting and one of them knocked the other one over onto this container. When they did it spilled on the floor. Now, it was already burning so when it spilled it looked like a river of fire. Everybody ran for the front door including yours truly. But when I got on the outside then I realized that I’d left the guitar inside. I went back for it. The building was a wooden building and it was burning so fast that when I got my guitar it started to collapse around me. So I almost lost my life trying to save the guitar. But the next morning we found that these two guys who were fighting were fighting about a lady. I never did meet the lady but I learned that her name was Lucille. So I named my guitar Lucille to remind me not to do a thing like that again.

If you play a tune and a person don’t tap their feet, don’t play the tune.

After two takes you’re imitating yourself.

It’s not jazz as we know jazz here in America.

A movie and a stage show are two entirely different things. A picture, you can do anything you want. Change it, cut out a scene, put in a scene, take a scene out. They don’t do that on stage.