A Quote by Lee Konitz

I hear many extra-musical things somehow in Coltrane. — © Lee Konitz
I hear many extra-musical things somehow in Coltrane.
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.
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.
You hear as many things as you would imagine. I hear voices of people I loved once. I hear moments that took place. I hear silences.
My sheets had never been so clean as they had in the past few months. I hardly got them on again before something else happened and I was feverishly ripping them off and stuffing them in the wash with double amounts of soap and all the "extra" buttons pushed: extra wash, extra rinse, extra water, extra spin, extra protection against things that go bump in the night.
Everyone says many, many, good things to me, and it's an extra motivation.
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.
I wanted to hear sounds of everyday objects - even musical instruments - as things.
When I started rhyming, my favorite rhythms were from John Coltrane and some of the things he did on sax. And certain rhythms that I hear on drums, I try to emulate with my words, dropping on the same patterns that them beats or them notes would hit.
It's not harder to make a couple extra substitutions. That's not hard. You get different things when you make changes, you gain things and you lose things. But overall, if you gain things, that's why you play extra guys.
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.
On everything you need to hear other people's opinions. It's the only way to do things. You ask a friend's advice and then between the two of you things somehow get clearer.
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.
Some musicians, man, you hear the note almost before they hit it. Jimi, Coltrane and Charlie Parker were like that.
I've always felt a great affinity with music. I've felt myself to be more of a musician than anything else, though I'm not proficient in any one instrument. But I think I have a musical sense of things... and writing seems to me to be a musical experience - rhythmically and in many other ways.
When we learned to play in bands, what we were covering was equal part the Velvet Underground and the Grateful Dead. That would defy the logic that somehow these things don't fit in the same musical well.
The main thing a poem ought to be is musical. It should be rhythmic. You should hear it as a musical piece in your head as you're writing it.
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