A Quote by Miles Davis
I never thought Jazz was meant to be a museum piece like other dead things once considered artistic.
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I never thought that the music called "jazz" was ever meant to reach just a small group of people, or become a museum thing locked under glass like all the other dead things that were once considered artistic.
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.
If I have to be considered any type of jazz artist, it would be New Orleans jazz because New Orleans jazz never forgot that jazz is dance music and jazz is fun. I'm more influenced by that style of jazz than anything else.
Jazz is smooth and cool. Jazz is rage. Jazz flows like water. Jazz never seems to begin or end. Jazz isn't methodical, but jazz isn't messy either. Jazz is a conversation, a give and take. Jazz is the connection and communication between musicians. Jazz is abandon.
I mix everything up. A museum curator once said to me that there is a great jazz component to the way I do things because good jazz is improvisation and draws elements from all different cultures. And that's the way I do everything - the way I dress and decorate.
Stop watering things that were never meant to grow in your life. Water what works, what's good, what's right. Stop playing around with those dead bones and stuff you can't fix, its over...leave it alone! You're coming into a season of greatness. If you water what's alive and divine, you will see harvest like you've never seen before. Stop wasting water on dead issues, dead relationships, dead people, a dead past. No matter how much you water concrete, you can't grow a garden.
I've had my ups and downs, and I definitely have a sense - in America, especially - that once you've made your mark and gotten your Rolling Stone piece and your Grammy nomination, that they're on to the next piece of meat, and they don't necessarily like to follow the twists and turns of an artistic career.
What's that Regina Spektor song? Museums are like mausoleums. Having your work in a museum is something we as artists aspire to, but I don't think that's something we need to worry about while we're alive. Typically your work will end up in a museum after you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead. But while we're alive, I like to see it in places where it's connected to day-to-day life and making a difference.
Many of our tribe went to the cliff each night to count the number killed during the day. They counted the dead otter and thought of the beads and other things that each pelt meant. But I never went to the cove and whenever I saw the hunters with their long spears skimming over the water, I was angry, for these animals were my friends. It was fun to see them playing or sunning themselves among the kelp. It more fun than the thought of beads to wear around my neck.
A violin is nothing more than a piece of wood and a dead cat. But it's a piece of technology. So when computers came along, in the '70s, I suddenly thought, hang on a second, this is interesting. These things can become an instrument. So I just became very interested in them, and started, playing with electronics.
I've had my ups and downs, and I definitely have a sense - in America, especially - that once you've made your mark and gotten your Rolling Stone piece and your Grammy nomination, that they're on to the next piece of meat, and they don't necessarily like to follow the twistsand turns of an artistic career. Throwing an opera at them is something they have to notice. There's nothing subtle about it.
I would like to bring people who have never been to a museum into a museum. And I would like to bring museum goers into libraries. I think there ought to be this cross-fertilization.
I once tried to sing jazz for real. But jazz didn't do it for me. You can't have jazz without a jazz world, which doesn't exist anymore.
In the beginning, it was meant to be like a faceless art piece. Then I did the first record and it received enough notice to satisfy my needs. I questioned the procedure out of fear. The Silver Jews was never meant to be recreated live.
I have a difficult relationship with jazz. My parents really love it, and I went to a school where jazz was considered the best thing ever, so I had to leave it be for a long time. But now I'm rediscovering it. I'm approaching jazz in a different way.
I never dreamt I could be an author when I grew up. It just didn't occur to me, because I thought you had to be a) academic, so go to university, things like that, and I didn't think I was clever, or b) dead because I just assumed all the authors in the library were dead.
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