A Quote by Cassandra Wilson
Miles Davis was doing something inherently African, something that has to do with all forms of American music, not just jazz.
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Coltrane was moving out of jazz into something else. And certainly Miles Davis was doing the same thing.
Jazz music is as American as it gets, and so is the U.S. Postal Service. A Miles Davis stamp is a perfect marriage of two great American institutions.
I was listening to a lot of bebop. And to Miles Davis. Everyone thinks I was just in the folk world in 1966, but in 1963 and 1964, I was absorbing enormous amounts of music, from baroque to jazz to blues to Indian music.
All forms are complex once you get to a really high level, and jazz and hip-hop are so connected. In hip-hop, you sample, while in jazz, you take Broadway tunes and turn them into something different. They're both forms that repurpose other forms of music.
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.'
I love music, and a lot of it. Jazz is probably on the top with guys like Miles Davis. But I even enjoy music from the '60s and '70s.
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 was a weird kid. I shouldve been gay because I listened to a lot of Broadway musicals. I dont know why Im not gay. I listen to a lot of jazz and world music, like African or Cuban music. Something that has vitality to it. A lot of the American stuff just feeds on itself.
I visited New York in '63, intending to move there, but I noticed that what I valued about jazz was being discarded. I ran into `out-to-lunch' free jazz, and the notion that groove was old-fashioned. All around the United States, I could see jazz becoming linear, a horn-player's world. It made me realize that we were not jazz musicians; we were territory musicians in love with all forms of African-American music. All of the musicians I loved were territory musicians, deeply into blues and gospel as well as jazz.
Miles Davis was a master. In every phase of his career, he understood that this music was a tribute to the African muse.
My dad loved jazz, so there was a little Miles Davis, Otis Redding, Donny Hathaway. My mum is French, so she'd listen to a lot of French music, but a lot of the music that actually formed my taste, I just found online.
Miles Davis is my go-to for music. There's something so relaxing and ambient about it, and it can be a little manic in a good way.
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.
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.
Someone should have a record that doesn't have any singing. It's my favorite Miles Davis record. I love hanging out in the summer, in New York, when it's miserably hot. I love electric Miles Davis in the summer. Jack Johnson, the songwriting especially, is a premier example of that. It always makes me feel hot in the city. It's also nice to have something not yelling in your ear. For me, as a lyricist, it's nice to put on something without any words.
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.
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