A Quote by Jonny Greenwood
People will have MP3s of every Miles Davis' record but never think of hearing any of them twice in a row - there's just too much to get through.
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For me, a wake-up playlist completely depends on what mood I'm in. If I need to get into action pretty quick, it will be between Beyonce and Miles Davis. I'm a massive Beyonce fan, and all of her anthems will do it for me. And Miles Davis, because I grew up hearing his music because my dad played it a lot, so that will always be special to me.
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.
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 just do the best you can. It doesn't necessarily mean that you have to get worse the more you do it. It can get better, I think... aspects of it, anyway. I mean, I don't write as much as I used to. But I don't do a lot of things as much as I used to. So that's the natural order of things, too. You're more or less living in the present. You're just trying to get that next song, whatever it is. And not think too much about what happened on the last record, or the record you made 20 years ago, because those are over with. Those are done.
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.
Usually I'm trying to get away from my discography. I don't think I could tear down everything I've done, the structures I've created - you know, like what Miles Davis did eight times in a row, which was destroy every kind of crutch or system he had for making music. That's very, very difficult. When I reflect on my catalog, I'm very proud of it, and I love it, but what I want to do now is completely different. When I don't do something different, I feel like I'm cheating - consciously or unconsciously stealing from myself.
I think I'd like to see CDs disappear. Too much plastic crap lying around. If I want some music these days, I'm gonna either get as MP3s or on vinyl.
Our borders are much too porous...We want to keep them open, but we also have to be much more careful. ...Right now, if you get on an airplane [to the U.S.] and claim asylum...when you arrive at Kennedy Airport in New York, they will say to you, 'OK, we'll give you a hearing on whether you deserve asylum. Show up in a year.' And two-thirds of the people never show up.
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.
Usually, I think it's best to play the song for them once and have them mix it up on the spot, because when the logical mind gets too involved, I think it kills a lot of magic. I just think the subconscious mind is so much smarter, and unfortunately, people do not trust their subconscious. A lot of people just don't access to all of that, the secret genius that's inside of them. And it's so much easier to get it out of a musician if you don't give them a chance to overthink.
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 believe in knowing all you can about the music and the people who made the music. I think it's much more important to know some good Miles Davis stories than to know how to play like Miles. I think you'll play better if you know some of the funny things he did than if you know the licks that he played.
I tell ya, southern people, they always think you are hard-of-hearing. Every timr you leave they say to you, You come back, you hear? And southern people, they think you are horny too. You get directions, they say, Just up the road apiece.
I think in Japan I think there is a lot of style and a lot of subcultures, but it will be interesting to see how much of them... how much of the people wearing those clothes are really expressing something about who they are or who they want to be and it will be very interesting to see, especially once you get there, once you get to a certain city like in Stockholm you really get to know the people a little bit and what they're saying through their clothes. It's more... To me I think it's much more interesting than just the clothes they're wearing or the length of the skirt.
I don't care too much for thinking about the past. The truth is just another story. You can remember it any way you want; it's never gonna be the same twice.
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