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When I was doing jazz concerts in America, I would use the biggest names I could find.
To play today in London, next week in Madrid and the week after that in Warsaw is a bit better than playing Newark and Baltimore and Philadelphia. I've been doing that for 20 years.
There are very few groups that really stay together. The leaders of groups make enough money to be able to afford to work a maximum of 35-40 weeks a year.
There are many artists that I present that I admit I like less than I do others. But I think that they warrant being presented by my own, personal standards.
The record companies are interested in the kind of sales they can get from the rock groups.
The public, hearing pop music, is, without knowing it, also soaking up jazz.
The history of all big jazz bands shows was, first they played for dancing, and then they played for singing.
The economic picture in the States today doesn't allow for jazz concerts in a tour fashion. People now are too used to the Festival, which gives them more names for the same price.
Sponsors and networks will really go all out and simply evaluate people on the basis of talent.
My juices needed restoring. I needed a sabbatical from the record business.
My function at Verve was that of a genuine producer in artists and repertoire.
Jazz was uplifted by what I did.
In 1958, I decided that I was going to live in Europe permanently. So in 1959 I moved to Lugano, Switzerland.
Inspirational Mothers Day
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