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I would sit in at a jazz brunch [at sweet Basil] with Eddie Chamblee, who was a great tenor player. Really a kind man. The whole band was great.

Jon Gordon

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Jon Gordon
Age: 53
Born: 1971
Born: January 20
Businessperson
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Writer
Men
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Sweet
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Brunch
Whole
Basil
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Eddie
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Jazz

More quotes by Jon Gordon

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Walk down Forest Ave to Joey's Pizza like we used to do after performances, which doesn't exist anymore. We had a sense of community [in the school band].
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We were poor [with my mother], and we didn't have too much. So we sat on the floor and we had a record player, and that's all we had in that room in the apartment. But we had whatever we had. Six records and a record player and it seemed like magic. Seven or eight years old, you know.
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Love is the answer for the team's success.
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I made some nice associations. Ben Perowsky and Kevin Hays... Bill Mobley and Pete McGuinness. A lot of talented people.
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I'm reaching a certain level [at school] that I had been aspiring to with all these incredibly advanced classical peers around me that I had been trying to be able to hang with them a little bit.
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Bob [Gordon] died young tragically.
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When you experience resistance, you find the lessons that you are meant to learn
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Pretty fortunate that with the exception of two months when I was 23, that I worked in a law office pushing paper around. I was always able to eke out a living somehow. So I'm blessed.
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When I heard Charlie Parker the first time on a record, it had seemed like an old, scratchy kind of record and I didn't get it.
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I had a great year with Bob Mintzer [at Laguardia School of Arts]. Bob is great. We could have just brought the clarinet or dealt with classical stuff, or brought the flute or just dealt with comp and arranging... what a great teacher.
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I think we're in a time and place, the last 20 plus years, and certainly now, it's only more so, where it's just about us creating a body of work. Creating hopefully our own scene.
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It's very unlikely you're a genius, but, if you're ready to work at it hard and you want to listen to music all the time and you want to learn about it and you want to be around the people who do it, you'll find your own way.
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There were some things I was going and doing in Europe a little bit. Some festivals that brought me over. That was good. Some touring I did over there. But there was nothing major [from 22 to 29].
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Instead of being disappointed about where you are, be optimistic about where you are going.
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Connection to the music and the history was very powerful to me. I think that's what I feel the most blessed about.
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I think what frustrated me more than anything else in my formative years was that I just had to work. I had to have a job. Like twenty to thirty hours a week, a lot of times in high school and college. And that was hard.
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When I was 13, 14, 15, I had played in a couple of jazz ensembles. I didn't know anything about harmony, about II-V-I, though I had learned my scales with Caesar [DiMauro].
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I took some comp for non-comp major classes with Giacomo Bracali and Ludmila Ulela, who was a really famous composition teacher.
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We listened [with my mother] to [Frank] Sinatra and Glen Campbell and we had some Beatles records that I liked. This was in the '70s.
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Phil [Wood] was very passionate. Very committed. He felt very blessed that the people that cared about him and took him aside... if he was out of line or drinking too much, being too surly.
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