Oliver Nelson

An artist should write for himself and not for an audience. If the audience likes it, great. If not, they can keep away.

A drummer has to be kind-hearted.

I went through a lot of mental pains and anguish about choosing between jazz and classical. I realized that where I functioned was where I should be, and where I functioned was in jazz, so that was it.

The word “jazz” means to me no category, but when you get stuck into wanting to do something the way it was with the “jazz emblem” or logo chained around your neck, you play in a frozen moment in time and you keep fermenting the ‘fifties saying jazz should be this way or that. Well, if jazz to me means no category, then I’ve got the green light And if it sounds like.. sounds like.. sounds like, and keeps crossing over, it’s what I wanted to do in the first place. I like the way Stravinsky and those guys did things. They expressed something, if not themselves. In fact, some people talk about expression, but expression really doesn’t mean anything to me because there’s a lot of work which goes into building a drama and then it’s up to other people to offer “expression.” Expression is such a nebulous thing.

It’s always Jazz. You can put a new dress on her, a new hat, but no matter what kind of clothes she’s the same old broad.

I worked hard learning harmony and theory when I was growing up in Chicago in the 1920s.

It became a kind of a game, to remember the things that had happened five minutes ago. I would start making notes about the things I was doing, on an instrument that was foreign to me, the guitar, so it was just a fun way of doing cognitive therapy. I was none the wiser to it until I began to improve and my ability to speak began to come back.

The great jazz instrumentalists taught me how to sing and interpret a song. they showed me how a horn can have as much personality as an actor.

I say this because it’s a good message to give to young talents who feel as I used to. You hear musicians playing with great fluidity and complete conception early on, and you don’t have that ability. I didn’t. I had to know what I was doing. And ultimately it turned out that these people weren’t able to carry their thing very far. I found myself being more attracted to artists who have developed through the years and become better and deeper musicians.I believe in things that are developed through hard work.

Jazz stands for freedom.

If I’m not saying it in four choruses or less, then I’m not saying it.

Even now, at 82 years old, if I don’t learn something every day, you know what I think? It’s a day lost. Now, I don’t practice every day. I just take the guitar, swear at it. But I should be swearing at myself. But I fool with music. I’m doing something musically all the time. And my ears are wide open for anything I can hear.

What are you going to do when you love music? You can’t stop.

My music had roots which I’d dug up from my own childhood, musical roots buried in the darkest soil.

I thought of nothing else but rock ‘n’ roll; apart from sex and food and money–but that’s all the same thing, really.