"I'm really getting to appreciate traditional jazz now - the New Orleans stuff - a lot more than I did before"
About this Quote
There’s a particular kind of adulthood embedded in this line: not the dramatic “I’ve changed” confession, but the quieter recalibration of taste. Goodman isn’t declaring jazz objectively great; he’s admitting his own ears have shifted. That small qualifier - “now” - does the heavy lifting. It signals time, mileage, maybe a little humility: the recognition that what once felt noisy, old, or academically “important” can later land as warm, human, even necessary.
The specificity matters. “Traditional jazz… the New Orleans stuff” frames the music as origin-story, not museum piece. It’s less about virtuoso showboating than about groove, communal improvisation, and the pleasure of a band breathing together. Goodman’s public persona helps: he’s long embodied a certain American heft and warmth on screen, often playing characters who feel lived-in rather than aspirational. Hearing him lean into New Orleans jazz reads like an actor gravitating toward an art form that prizes texture, timing, and ensemble chemistry - the same invisible mechanics that make a scene work.
The subtext is also cultural: “traditional” can be a loaded word, but here it’s not reactionary. It’s restorative. In an era of constant novelty and algorithmic taste, he’s describing an unforced return to roots, the kind of listening that isn’t about keeping up but about settling in. The line invites a generous thought: sometimes sophistication isn’t moving forward. Sometimes it’s finally catching what was there all along.
The specificity matters. “Traditional jazz… the New Orleans stuff” frames the music as origin-story, not museum piece. It’s less about virtuoso showboating than about groove, communal improvisation, and the pleasure of a band breathing together. Goodman’s public persona helps: he’s long embodied a certain American heft and warmth on screen, often playing characters who feel lived-in rather than aspirational. Hearing him lean into New Orleans jazz reads like an actor gravitating toward an art form that prizes texture, timing, and ensemble chemistry - the same invisible mechanics that make a scene work.
The subtext is also cultural: “traditional” can be a loaded word, but here it’s not reactionary. It’s restorative. In an era of constant novelty and algorithmic taste, he’s describing an unforced return to roots, the kind of listening that isn’t about keeping up but about settling in. The line invites a generous thought: sometimes sophistication isn’t moving forward. Sometimes it’s finally catching what was there all along.
Quote Details
| Topic | Music |
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