A Quote by Oprah Winfrey
I thought, If I'm gonna run a jazz club, if I've got Miles Davis' posters in my bar, I should at least know what his horn sounds like.
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I belonged to the Columbia Record Club, and that's where my records came from. For some reason, I was in the 'jazz' category. I got Benny Goodman records and Miles Davis, J.J. Johnson and Kai Winding, and that kind of stuff. I really was not a jazz guy at all, but I knew some of those names.
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.
My first ambition in life, I made up my mind I was going to become Miles Davis. I studied music, music theory. I played trumpet for nine years. One day, my mother explained, 'You can't be Miles Davis. There's one, and he's got that job.'
Jazz stopped being creative in the early '80s. After your acoustic era, where you had the likes of the Miles Davis Quintet, when it gets to the '70s it started being jazz fusion where you had more electronic stuff happening, then in the '80s they started trying to bring back the acoustic stuff, like Branford Marsalis and the Wynton Marsalis & Eric Clapton sextet. It started dying down from there. Miles was still around in the '80s and he was still being creative; he was playing Michael Jackson songs and changing sounds, but a lot of people were still trying to regurgitate the old stuff.
I've grown up with jazz - the Joe Hendersons, Oliver Nelsons, Miles Davis and stuff - but I was also listening to, like, Slipknot, Korn, and Rage Against the Machine. There was all of that weaved - interweaved - in there, and being from L.A., you tend to know your musical history.
I got a chance to work with Miles Davis, and that changed everything for me, 'cause Miles really encouraged all his musicians to reach beyond what they know, go into unknown territory and explore. It's made a difference to me and the decisions that I've made over the years about how to approach a project in this music.
Comedy is a funny thing, and it's really not like any other art form in that it's very specialized and varied in it's content, but generic in it's title. You would never go to a club just to see "Live music," you would go to a jazz club to see jazz, a blues club to see blues, etc. But when you go to see "standup comedy," if you don't know the performers material, you really don't have any idea what you're gonna get.
As a bassist he could never really be a sideman. He was always the anchor. He drove the beat. even if it was behind Miles Davis'a horn.
I first heard Miles Davis as a student, when I was struck by his extraordinary musicianship, and his work did affect some of the sounds of Simply Red. He was one of the reasons I chose to have a muted trumpet on 'Holding Back the Years.'
If I'm going to be a jazz player, I need to understand Miles Davis.
Footballers can be like artists when the mind and body are working as one. It is what Miles Davis does when he plays free jazz - everything pulls together into one intense moment that is beautiful.
I love music, and a lot of it. Jazz is probably on the top with guys like Miles Davis. But I even enjoy music from the '60s and '70s.
I did what sports were supposed to be like, and I was living in my car. So you know what, fine. I'm gonna talk a bunch of sh*t. I'm gonna pose in a couple of pictures. And I'm gonna break a couple of girl's arms, and I'm not gonna feel the least bit sorry about it because you know what? At least I can feed my dog.
My best friend was crazy about Culture Club. She had posters everywhere. She joined the fan club. She knew everything about them. No one else sounds like Boy George, and I have great memories of singing along in her bedroom.
I think cool originates with the jazz culture in the '40s. There was probably cool before that, but that's when people started talking about cool - Miles Davis and Charlie Parker and a bunch of other early, cool jazz folk.
I remember the first time I was booked into a jazz club. I was scared to death. I'm not a jazz artist. So I got to the club and spotted this big poster saying, 'Richie Havens, folk jazz artist.' Then I'd go to a rock club and I'm billed as a 'folk rock performer' and in the blues clubs I'd be a 'folk blues entertainer.'
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