John Zorn's Quotes

One of the reasons I started Tzadik, which is my own label, is to keep things in print. I got tired of labels dropping things out of print when they don't sell.

That is a lot of the reason I do what I do, to really spread the word and spread information and turn people onto different things they may not be, y'know, aware of. That is what Naked City is certainly about.

That was my challenge as a composer. Like with anything, to keep yourself interested in doing what you do, you set yourself challenges. So I said, Okay, I'll try to write a hundred tunes in a year.

That's where I began to ask questions that maybe don't have one specific answer. And the more people you get answers from, the richer the environment becomes.

Well, in Japan, I have got a group of musicians that I have worked with a lot, that concentrate just on the hardcore stuff, say, that Naked City has been working on. We have like a repertoire of sixty songs now.

You know, when we were kids, we had to go to a theater to see a movie. And then television came in and you had to wait until midnight to see the one you wanted to see. Now, all you've got to do is go to a store and buy it and you can watch it whenever you want!

As soon as you get a certain amount of attention, then everybody kinda wants to start taking pot shots at you. All your old friends that supported you don't support you any more.

I don't play favorites with people. My basic philosophy is that the only way to make the world a better place is by bringing something beautiful to every single person you run into at every moment of the day, so how can you play favorites with somebody?

You can't be idealistic in this world and not be crazy.

I see myself and many artists like me as the torchbearers through these dark ages.

It's a matter of keeping people on a spontaneous edge.

I don't control it at all. It's all up to the musicians in the group. They control it. They make all the cues, and they tell me what they want, and then I act like a mirroring device so that everyone can see what the cues are.

And I try to be as diplomatic as I can, but it always ends up being a psychodrama up there on stage.

Eye was a great discovery. He is one of the great vocalists of all time.

Great musicians accept everything that they hear and find something good. They take what they like and they throw away what they don't like.

I have not practiced saxophone since 1980. I mean, not one note. I do not pick it up in my house, and that's the end of it.

I have wit in my work and a sense of humor, but I do not use irony in any way.

People sometimes have a very hard time accepting change.

The idealists will always be in society, and we will survive.

When I'm writing, sometimes it gets to that place where I feel like the piece is writing itself and I'm trying not to get in the way.

Classical stuff takes a lot of rehearsal time and preparation, but with stuff that involves improvisation, you can over-rehearse it and it gets stale. You don't want it to be too comfortable. In fact, a good sound check, a good rehearsal usually means a bad performance.

For about seven years. I really like it there. There are a lot of great musicians. The scene is very open. A lot of stuff going on. People's ears are really open, they are not closed. A lot of scenes here, people just get tunnel vision and are into one thing.

I have about two or three people, we don't have an office, we don't even have a dedicated phone line. We do it out of our own homes, and we make it work.

I put together the influences of my life in as clear a way as I possibly can, in the same way that Beethoven or Schoenberg or Bach put their influences together.

I run around, I listen to a lot of music, go to a lot of concerts. And when I see someone that gases me, I try to go out of my way to involve them somehow in what I'm doing or get involved in what they're doing.

I'm getting ready to write a piece now, and it's been six months thinking about it, changing the instrumentation, changing the name, doing more reading.