A Quote by Kenny G
Well, Grover Washington was my main influence and when I went to college, I started listening to more of the jazz masters like Sonny Rollins, Cannonball Adderley, and John Coltrane.
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Grover Washington was my main influence, and when I went to college, I started listening to more of the jazz masters like Sonny Rollins, Cannonball Adderley, and John Coltrane.
I love jazz. So to me, there are two main types of jazz. There's dancing jazz, and then there's listening jazz. Listening jazz is like Thelonius Monk or John Coltrane, where it's a listening experience. So that's what I like; I like to make stuff that you listen to. It's not really meant to get you up; it's meant to get your mind focused. That's why you sit and listen to jazz. You dance to big band or whatever, but for the most part, you sit and listen to jazz. I think it comes from that aesthetic, trying to take that jazz listening experience and put it on hip-hop.
I grew up listening to Ravel, Debussy, Bartok and jazz like Charlie Parker, Dizzy Gillespie, Cannonball Adderley, Charlie Christian and Django Reinhart. It was incredibly inspiring! And I was given a guitar and I said 'What the hell is this?!'
When I was 12, I began listening to John Coltrane and I developed a love for jazz, which I still have more and more each year.
Lately, I've been listening to some jazz albums. I love the new Pat Metheny album. John Coltrane. I still like good metal, though!
I grew up listening to John Coltrane and jazz, so they were subtle influences. I sometimes think about doing some kind of weird jazz record, but I don't know... It's on my list of things to do. I don't want to have to then go promote it.
Lately, Ive been listening to some jazz albums. I love the new Pat Metheny album. John Coltrane. I still like good metal, though!
"Cannonball Adderley said, 'First 20 minutes we'll jazz out, then the last hour it's gonna be songs that people paid to see.' Which is why he was driving a Rolls-Royce."
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.
My thing was, I loved music. I played music: I played the saxophone. So the little bit of music knowhow I had, I tried to implement that in every thing I did, from my style, my cadence, the way I tried to pause and stagnate it; that all came from John Coltrane and listening to jazz albums. Trying to rhyme like a jazz player.
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.
Coltrane came to New Orleans one day and he was talking about the jazz scene. And Coltrane mentions that the problem with jazz was that there were too few groups.
When you think of diversity, George Duke fits that bill better than a lot of people. He's played a lot of straight-ahead jazz with people like Nancy Wilson and Cannonball Adderley; he's played a lot of fusion with his own groups, with Stanley Clarke; and, you know, he did the rock thing with Frank Zappa. He's written all kinds of big arrangements for people like Burt Bacharach. So, he's covered the board. He's still a great pianist.
I love, you know, a lot of jazz, John Coltrane.
A respectable-sized audience hasn't really been able to follow developments in jazz since the free jazz movement in the '60s. Some of them can't even get with John Coltrane. Audiences are diminishing more and more rapidly. Some of the top young musicians with something new to say can't get record companies to put out their stuff.
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.
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