Quotes By Norman Granz

I'm talking as a professional impresario. I'm not judging anybody at all.

I don't think that jazz, as any kind of an art form, has any permanence attached to it, apart from the practitioners of it.

Ellington is a writer and arranger, as well as a musician and leader. He does movie sound tracks.

I'm concerned with trend. I don't know where jazz fans will come from 20 years from now.

In 1958, I decided that I was going to live in Europe permanently. So in 1959 I moved to Lugano, Switzerland.

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.

I allowed artists to play for as long as they felt they could justifiably continue to create.

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.

If you look at my audiences, even in Europe, they're hardly teenagers.

My function at Verve was that of a genuine producer in artists and repertoire.

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.

I don't think I will ever do any tours again in the United States. I rather think that that's over with.

Sponsors and networks will really go all out and simply evaluate people on the basis of talent.

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.

As long as we're in a democracy, I have to give what I think the majority of people will enjoy.

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.

I don't know who's 18 years old today that, 20 years hence, is going to be a jazz fan.

My juices needed restoring. I needed a sabbatical from the record business.

I made it easier for many artists to play in certain areas.

I still continue to do at least four concert tours a year, and in many cases, as many as six.

Jazz was uplifted by what I did.

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.

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.

For years, Jazz At The Philharmonic albums were the only ones of their kind.

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.

I don't want to sound as if I'm doing something tremendously special. But I am a jazz fan.

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 record companies are interested in the kind of sales they can get from the rock groups.