A Quote by GRiZ

I just really liked those trumpets and horns - Miles Davis, Dizzy Gillespie - and I honed in on that. I always looked for those big horn lines. — © GRiZ
I just really liked those trumpets and horns - Miles Davis, Dizzy Gillespie - and I honed in on that. I always looked for those big horn lines.
I believe, from reading biographies, that the great musicians have also been great cooks: Miles Davis, Dizzy Gillespie, Thelonious Monk, Max Roach. I think I've worked out why this is - unsociable hours, plus general creativity.
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.
Ornette Coleman is doing the only really new thing in jazz since the innovations in the mid-forties of Dizzy Gillespie, Charlie Parker, and those of Thelonious Monk
I skipped school one day to see Dizzy Gillespie, and that's where I met Coltrane. Coltrane and Jimmy Heath just joined the band, and I brought my trumpet, and he was sitting at the piano downstairs waiting to join Dizzy's band. He had his saxophone across his lap, and he looked at me and he said, 'You want to play?'
No matter what happens with EDM, I would like to go to New Orleans and just play with one of those small funk bands in an intimate venue. How cool would it be to work with a band with those huge horn lines and produce all of that great funk that makes you just want to party?
I, myself, came to enjoy the players who didn't only just swing but who invented new rhythmic patterns, along with new melodic concepts. And those people are: Art Tatum, Bud Powell, Max Roach, Sonny Rollins, Lester Young, Dizzy Gillespie and Charles Parker, who is the greatest genius of all to me because he changed the whole era around.
I wanted very much to be Miles Davis when I was a boy, but without the practice. It just looked like an endless road.
I'd always been acutely sensitive to my surroundings - and aware that I could make them rather than just observe them. So I began by designing interiors for myself, for friends, for clients - I just felt that I'd discovered my element, and those who really looked at what I was doing liked it - and the rest followed.
My favorite artists are able to take things to the edge or just over the edge. Miles Davis and Duane Allman, for example. It's about not playing too many notes. Those guys had lots of phases to their careers, but they always played with economy and intelligence.
I thought, If I'm gonna run a jazz club, if I've got Miles Davis' posters in my bar, I should at least know what his horn sounds like.
I didn't grow up during the time that Louis Armstrong or Miles Davis and all those people were playing. So it's not really my responsibility to keep it up, what they were doing.
I remember the first time hearing a recording from Minton's Playhouse; it was Charlie Christian and a young Dizzy Gillespie, and he was just the best musician in the room.
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.
Chris Paul is one of those guys growing up, I guess I looked up to. Deron Williams was one of those guys, Dwyane Wade, Baron Davis.
I had a cat called Dizz, after Dizzy Gillespie.
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.
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