A Quote by Isaac Mizrahi

If you try to have a fashion show with Bach fugues and John Coltrane, it doesn't really work. — © Isaac Mizrahi
If you try to have a fashion show with Bach fugues and John Coltrane, it doesn't really work.
The fact of the matter is that nobody understands what John Coltrane is doing except John Coltrane. And maybe not even him. So we're all experiencing it on this subconscious level.
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.
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.
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.
I try to make my flow sound like a John Coltrane solo.
For the past eighty years I have started each day in the same manner... I go to the piano, and I play preludes and fugues of Bach... It is a sort of benediction on the house.
I'm aware of Yusef Lateef and Sun Ra and John Coltrane. My music cup runneth over. I try to encourage people: don't cut anything off, don't limit yourself. Give it a good listen: you might find something in that goofy Sun Ra noise, that dissonance. Before I learned 'official musicality' - which you should avoid at all costs - I listened to some Sun Ra and Yusef Lateef and John Coltrane and that's where 'Journey to the Center of the Mind' came from. When you intentionally and aggressively pursue musical communication with those powerfully impactful musical geniuses, you will pick up something.
Scriabin slept with Chopin under his pillow, and I slept with Wagner under mine. I could not concentrate on memorizing Bach fugues, but I had all of 'Gotterdammerung' in my fingers.
My dad was really into avant garde jazz: Archie Shepp, John Coltrane and Pharoah Sanders.
Honestly, I try to forget Fashion Week once it's over. I just want to go home and rest and just forget I even did it. It could drive you crazy! It's just show after show after show, and you're missing your family and they feel really far away. You don't go to sleep. You work for a month.
John Kricfalusi is very talented; he used to really piss me off. But I did good work, you know? The Ren & Stimpy show without me was totally unsuccessful. So if there's anybody listening out there with any doubts about what I can do for a show: Try me. The thing is, I wasn't about to stop doing a job.
Growing up, I listened to a lot of jazz and blues records - John Coltrane and Etta James. I was also really into Radiohead and the BeeGees.
... We borrowed it all from Coltrane. I started encouraging everybody in the band to listen to John Coltrane - 'Check it out, see what these guys do.' They take one chord, the tonic chord, and just play all over it. 'We can do that too!' I wanted to make our music something really amazing - I wanted it to be jaw-dropping and turn on a dime and do all of those things that I knew music could do, and nobody told us we couldn't do it. I shouldn't say 'I,' though - Jerry Garcia was behind it the whole way.
John Brown was the abolitionist to end all abolitionists. People thought he was crazy. He was like John Coltrane playing free jazz, exhausting all possibilities in his approach to harmony and improvisation.
The people I really admire, like William Blake and John Coltrane and Richard Wagner, had these ridiculously full universes that took their entire lives to describe.
All John Coltrane's records are amazing.
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