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If I were to put on Barbra Streisand and Duke Ellington, one might say the combination isn't good.
If I were to put on Barbra Streisand and Duke Ellington, one might say the combination isn't good.
If I were to put on Barbra Streisand and Duke Ellington, one might say the combination isn't good.
If I were to put on Barbra Streisand and Duke Ellington, one might say the combination isn't good.
If I were to put on Barbra Streisand and Duke Ellington, one might say the combination isn't good.
If I were to put on Barbra Streisand and Duke Ellington, one might say the combination isn't good.
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Norman Granz:
If you look at my audiences, even in Europe, they're hardly teenagers.Norman Granz:
In 1958, I decided that I was going to live in Europe permanently. So in 1959 I moved to Lugano, SwNorman Granz:
Jazz was uplifted by what I did.Norman Granz:
My function at Verve was that of a genuine producer in artists and repertoire.Norman Granz:
My juices needed restoring. I needed a sabbatical from the record business.Norman Granz:
Sponsors and networks will really go all out and simply evaluate people on the basis of talent.Norman Granz:
The history of all big jazz bands shows was, first they played for dancing, and then they played foNorman Granz:
The public, hearing pop music, is, without knowing it, also soaking up jazz.Norman Granz:
The record companies are interested in the kind of sales they can get from the rock groups.Norman Granz:
When I was doing jazz concerts in America, I would use the biggest names I could find.