A Quote by Miles Davis

Japanese people they hear my warmin' up and they start screamin'. They can tell it's me.It's my tone on the trumpet, it sounds like I'm speakin'. — © Miles Davis
Japanese people they hear my warmin' up and they start screamin'. They can tell it's me.It's my tone on the trumpet, it sounds like I'm speakin'.
If you have a tone like mine that is recognizable. No matter what I play, when you hear my tone you can tell it's me.
I would never try and play like Harry James, because I don't like his tone - for me. It's just white. You know what I mean? He has what we black trumpet players call a white sound. But it's for white music ... I can tell a white trumpet player, just listening to a record. There'll be something he'll do that'll let me know that he's white.
If somebody from the past doesn't rise up from the grave and start talking to me, I haven't got a book. I have to hear that voice, the voice of the narrator. How she sounds will tell me who she is, and who she is will tell me how she will act - and that starts the plot in motion.
One of my pleasantest memories as a kid growing up in New Orleans was how a bunch of us kids, playing, would suddenly hear sounds. It was like a phenomenon, like the Aurora Borealis -- maybe. The sounds of men playing would be so clear, but we wouldn't be sure where they were coming from. So we'd start trotting, start running-- 'It's this way! It's this way!' -- And sometimes, after running for a while, you'd find you'd be nowhere near that music. But that music could come on you any time like that. The city was full of the sounds of music.
I hate the natural sound of the trumpet, but I think I'm naturally set up to be a trumpet player. I know that sounds weird. But pretty much anytime I play a note, I'm uncomfortable in a general sense.
When you're listening to radio and hear the same 20 songs over and over and over, you want a break from it. Sometimes you don't want to hear something that sounds just like everything else on the radio. Eventually, if you hear the same sounds and the same musicians and the same mixes and all of that, it will start to sound like elevator music.
A trumpet sounds pretty much like a trumpet, and that's true of a lot instruments; pianos sound like pianos, but there's something about the guitar - the range of possibilities is much broader.
I don't physically put Appetite For Destruction in and listen to it, but I hear it on the radio or at sporting events or wherever else it pops up, and it's great. I dig everything about it. When I hear Appetite, it sounds like exactly what it was. It sounds like a record made by an angry bunch of kids.
A lot of people ask me where music is going today. I think it's going in short phrases. If you listen, anybody with an ear can hear that. Music is always changing. It changes because of the times and the technology that's available, the material that things are made of, like plastic cars instead of steel. So when you hear an accident today it sounds different, not all the metal colliding like it was in the forties and fifties. Musicians pick up sounds and incorporate that into their playing, so the music that they make will be different.
I like to keep people around me like the guys I have on the road with me, three of them were childhood friends of mine when I was growing up in Scotland. They don't look at me any different than when we were in primary school. So it's good to keep people like that around you. I think if you surround yourself with good honest people, they will tell you what to hear when you need to hear it.
Dot Hacker, to me, sounds like a collection of all my tastes. I hear four people trying to fill up as much space as they can.
I have a singer, she's called Lara Caprotti. And then I have Stefano Serafini playing trumpet. The trumpet sounds amazing live in a club.
I turn on the machines and start to think about ideas and take it from there, it usually begins if it's a beat, a track creating a beat/beats and then the bass-line/lines, then comes the sounds--drones, atmospherics etc, then the edits of various sounds I created and keep going till I feel I have enough sounds ideas to start working and building a track. I have many banks of sounds that we hear that can be manipulated in the machines.
I live in London, where you're assaulted, from the minute you wake up. Your head becomes like a hive of bees, with all the noises being thrown at you, all the time. And then, you go somewhere like Shetland and you start to hear birds, wind, and natural sounds.
Rhythms and sounds are often the first thing I hear and want in a poem, so I can't imagine trying to translate something without at least being able to hear what it sounds like.
It's like swimmin' without warmin' up, yuo know what I mean? So [cackles] we use the drum machine, and we take it out.
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