A Quote by Kurt Elling
I haven't been afraid of John Coltrane or Miles Davis or Bill Evans or Wayne Shorter or Herbie Hancock. Why would I be afraid of the Beatles?
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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.
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.
If Miles Davis hadn't died it would have been interesting to do an album with him, but there wasn't much else that would have got me into the studio... although Herbie Hancock has just been in touch about doing something and that would be an interesting combination.
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.
My musical influences are from the '50s: Bill Evans, Miles Davis and Ahmad Jamal.
Most pianists listen to about four or five different piano players before they call it quits and say, 'Okay, I've got my thing together.' Herbie Hancock, McCoy Tyner, Bill Evans, Keith Jarrett and maybe Chick Corea. Or maybe before that, Oscar Peterson.
I have tons of jazz records: John Coltrane, Thelonious Monk, Miles Davis. I could go on and on.
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.
We're just afraid, period. Our fear is free-floating. We're afraid this isn't the right relationship or we're afraid it is. We're afraid they won't like us or we're afraid they will. We're afraid of failure or we're afraid of success. We're afraid of dying young or we're afraid of growing old. We're more afraid of life than we are of death.
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.
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.
For me, the bold jazz of John Coltrane and Miles Davis reflected the bold attitude in African-Americans finding their political identity and voice.
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.
Why can't women get along? Because we're afraid. We're afraid to be vulnerable. We're afraid to be soft. We're afraid to be hurt. But most of all, we're afraid of our power. So we become controlling and aggressive and vicious.
Bob Erlendson, a local piano player, taught me chord structure and which scales go along with them. Later, I began listening to [pianists] Bill Evans and McCoy Tyner. Then I got interested in [saxophonist] John Coltrane.
As much as I think John Coltrane belongs on the list, I think without Coleman Hawkins and Lester Young, both of whom defined improvising on the tenor sax, there would not have been the evolution of the craft by John Coltrane.
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