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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.

Norman Granz

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Norman Granz
Age: 83 †
Born: 1918
Born: August 6
Died: 2001
Died: November 22
Composer
Entrepreneur
Film Director
Film Producer
Music Producer
Music Promoter
Record Producer
LA
California
Norman Grantz
Sense
Jazz
Enough
Million
Must
Areas
Really
Havens
Amsterdam
People
Haven
Profitable
Millions
Exposed
Economic
Japan
Successful
Area

More quotes by Norman Granz

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My function at Verve was that of a genuine producer in artists and repertoire.
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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.
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If I were to put on Barbra Streisand and Duke Ellington, one might say the combination isn't good.
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I find myself more at peace when I live in Europe.
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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.
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I don't think I will ever do any tours again in the United States. I rather think that that's over with.
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I still continue to do at least four concert tours a year, and in many cases, as many as six.
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You’re probably smarter than you present yourself.
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When I was doing jazz concerts in America, I would use the biggest names I could find.
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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.
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If you look at my audiences, even in Europe, they're hardly teenagers.
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For years, Jazz At The Philharmonic albums were the only ones of their kind.
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Ellington is a writer and arranger, as well as a musician and leader. He does movie sound tracks.
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If you don't get substantially what you want, be ready to walk. And don't look back.
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The public, hearing pop music, is, without knowing it, also soaking up jazz.
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The whole reason for Jazz at the Philharmonic was to take it to places where I could break down segregation.
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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.
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My juices needed restoring. I needed a sabbatical from the record business.
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As long as we're in a democracy, I have to give what I think the majority of people will enjoy.
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Jazz was uplifted by what I did.
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