You know, John Coltrane has been sort of a god to me. Seems like, in a way, he didn't get the inspiration out of other musicians. He had it. When you hear a cat do a thing like that, you got to go along with him. I think I heard Coltrane before I really got close to Miles [Davis]. Miles had a tricky way of playing his horn that I didn't understand as much as I did Coltrane. I really didn't understand what Coltrane was doing, but it was so exciting the thing that he was doing.
When I have to compete with John Coltrane and Miles Davis and Louie Armstrong on iTunes, which I'm doing now, that's a problem. That means that jazz is not being heard by younger audiences.
I have tons of jazz records: John Coltrane, Thelonious Monk, Miles Davis. I could go on and on.
My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.
Miles Davis was doing something inherently African, something that has to do with all forms of American music, not just jazz.
For me, the bold jazz of John Coltrane and Miles Davis reflected the bold attitude in African-Americans finding their political identity and voice.
I saw Al Foster with Miles Davis the other week. It was beautiful. But, the whole thing was, Al Foster played as well as everybody else, but all of them were quite brilliant under Miles Davis' direction.
I love nineties stuff like Alice in Chains and Nine Inch Nails. It'd be my dream to have a Radiohead-themed episode of 'Glee.' I also love jazz greats like Coltrane, Miles Davis, and Herbie Hancock.
When you're 8 years old, and you've become subconsciously familiar with the layout and design of Black Sparrow books, and you know the difference between Miles Davis and John Coltrane, something is bound to stick.
My dad was a huge big band and jazz fan, and we both sort of enjoyed be-bop, but man, it required so much skill to play it. And then there was cool jazz, the era that Miles, Coltrane, and Ornette ushered in, and that found a home in me. It turns out that that music was just really where I breathed.
Coltrane came to New Orleans one day and he was talking about the jazz scene. And Coltrane mentions that the problem with jazz was that there were too few groups.
I don't think we listened to any rock n' roll at all in the early days. It was Miles Davis and John Coltrane 95% of the time.
I grew up in the sixties watching B.B. King and Tito Puente and Miles Davis and Coltrane, everybody, Marvin Gaye, Jimi. And at the same time, with my left eye I was watching Dolores Huerta, Cesar Chavez, Martin Luther King, Malcolm X, Mother Teresa.
My own musical background is based in the blues, and in classical composition. I grew up listening to Muddy Waters, John Coltrane, Miles Davis, Beethoven and Bach.
One of the things that I loved about listening to Miles Davis is that Miles always had an instinct for which musicians were great for what situations. He could always pick a band, and that was the thing that separated him from everybody else.
See, we started out with a foundation of blues. But then we added people like Miles Davis and John Coltrane to the mix and gave rock n' roll a much more complex structure. It made it possible to play more than three chords.