A Quote by Branford Marsalis

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.
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 go by the "Miles Davis school of production and band-leading", where you pick the best musicians you can, you provide them with a minimum of direction, and you just let the music happen. I've seen it work time and time again.
The only person I have regrets about is Miles Davis. He and I had become good friends after we did a photo shoot, and coincidentally, we kept running into each other at parties and stuff. I regret not having written a hit for Miles Davis.
The only person I have regrets about is Miles Davis. He and I had become good friends after we did a photo shoot and coincidentally we kept running into each other at parties and stuff. I regret not having written a hit for Miles Davis.
The next film I have is called Miles Ahead, which is about Miles Davis, during a five-year period in his life during which he's struggling to figure out which direction to go musically and in his life. I play a record executive who's there to try to get Miles to collaborate with one of my clients. I'm excited to see that.
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.
Miles Davis, my one and only real hero of my life. I met him [because] every time I had a movie interview, I would shift the conversation to jazz. Miles, when I finally met him, he knew he had a sucker walking in the door. Because his people told him, “This guy plays the trumpet and every freakin’ interview he has ever given, he’s talked about you.”
When I was a little kid, I used to walk miles and miles and miles and miles and miles and miles of railroad tracks.
I got a chance to work with Miles Davis, and that changed everything for me, 'cause Miles really encouraged all his musicians to reach beyond what they know, go into unknown territory and explore. It's made a difference to me and the decisions that I've made over the years about how to approach a project in this music.
I made an a capella cover of Kesha when everyone else was listening to Miles Davis and people didn't like it. They imitated me.
I used to try to play like [Miles Davis], and Miles caught me copying him one night at Birdland. He said, 'Hey man, why don't you play some of your own stuff.' So, I finally did, because I had copied all his solos.
It's called 'Miles Davis, Prince of Darkness,' and it's about Miles Davis, the genius, and why he was the way he was, and how he changed music so many times. He changed music six times. So, I'm excited about that movie.
I was asked to be in Elton John's band, Joni Mitchell's band, and Miles Davis' band. I couldn't do it.
My first ambition in life, I made up my mind I was going to become Miles Davis. I studied music, music theory. I played trumpet for nine years. One day, my mother explained, 'You can't be Miles Davis. There's one, and he's got that job.'
Miles Davis had been in retirement for five or six years and he was coming out of retirement and he was looking for young guys. Somebody gave him my name and he called me and said, "Can you show up at Columbia Studios in two hours?" I'm like, "Whoa, is this the real Miles Davis?" He's like, "Yeah." So I showed up and yeah, it was intimidating, but music is so important to me that the intimidation was all before the notes started.
As a bassist he could never really be a sideman. He was always the anchor. He drove the beat. even if it was behind Miles Davis'a horn.
This site uses cookies to ensure you get the best experience. More info...
Got it!