About Norman Granz: Norman Granz was an American jazz music impresario.
I don't say that the supposed Civil Rights development is a myth, but it's a matter of dealing with reality. It's purely peripheral and, in many cases, it's just a facade.
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.
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.
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.
Amsterdam must have more than a million people. But the only area where jazz is really profitable and successful in an economic sense is in Japan. That's because they haven't been exposed enough.
I made it easier for many artists to play in certain areas.
My juices needed restoring. I needed a sabbatical from the record business.
The history of all big jazz bands shows was, first they played for dancing, and then they played for singing.
If I were to put on Barbra Streisand and Duke Ellington, one might say the combination isn't good.
I find myself more at peace when I live in Europe.
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.
The public, hearing pop music, is, without knowing it, also soaking up jazz.
Ella can work nightclubs that Duke might not be able to work, because of having the big band. Where they go now is strictly a matter of their own names and talents.
