A Quote by Lenny Breau

Bob Erlendson, a local piano player, taught me chord structure and which scales go along with them. Later, I began listening to [pianists] Bill Evans and McCoy Tyner. Then I got interested in [saxophonist] John Coltrane.
I had no clue of Hollywood until I became a teenager. Then I got a fake ID in Tijuana and discovered Shelly's Manne-Hole, on Cahuenga and Selma, where I saw John Coltrane and his piano player, McCoy Tyner, and Elvin Jones, the drummer - my idol.
Most pianists listen to about four or five different piano players before they call it quits and say, 'Okay, I've got my thing together.' Herbie Hancock, McCoy Tyner, Bill Evans, Keith Jarrett and maybe Chick Corea. Or maybe before that, Oscar Peterson.
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.
I grew up with a piano, and my aunt taught me chords. I played with bands in high school and I could do like, C chord, G chord, D chord; really simple, rhythm piano.
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 haven't been afraid of John Coltrane or Miles Davis or Bill Evans or Wayne Shorter or Herbie Hancock. Why would I be afraid of the Beatles?
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.
My father would say, 'Play a scale,' and I'd play one and he'd say, 'What about the rest? There must be one above,' so we'd figure them out. I'd start the scale on the root of the chord and I'd go as far as my hand would reach without going out of position, say, five frets, and then I'd go all the way back. So when ! practised I'd start right away on scales. As well as the usual ones, I'd play whole tone scales, diminished, dominant sevenths, and chromatic scales. Every chord form, all the way up, and this took an hour.
... 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.
My dad was a self-taught stride piano player. The myth is - I don't whether it's true or not - that he taught himself to play by watching a player piano.
Then I began to play. Variations on a G major chord, the most wonderful chord known to mankind, infinitely happy. I could live inside a G major chord, with Grace, if she was willing. Everything uncomplicated and good about me could be summed up by that chord.
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.
I practice all the scales. Everyone should know lots of scales. Actually, I feel there are only scales. What is a chord, if not the notes of a scale hooked together?
My father was a jazz tenor sax player. He played in a lot of big bands. So I had that sound around me all the time. The first record that really caught my ear was Clifford Brown's 'Brownie Eyes.' I grew up listening to John Coltrane and Illinois Jacquet. This is where I come from... I love improvisational music.
As far as piano players are concerned, Oscar Peterson is my very favorite. I also like McCoy Tyner. I think that the big jazz stars, both now and in the past...how shall I say it? These guys are as great as Bach, Beethoven; all of them. People don't know it yet. If jazz survives and is put on a pedestal as an art form, the same as classical music has been through the years, a hundred years from now the kids will know who they were, with that kind of respect.
As a young child, I thought that all pianists played everything. I mean, I thought anything on piano - any piano music, all pianists played it.
This site uses cookies to ensure you get the best experience. More info...
Got it!