When you're 8 years old, and you've become subconsciously familiar with the layout and design of Black Sparrow books, and you know the difference between Miles Davis and John Coltrane, something is bound to stick.
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 have tons of jazz records: John Coltrane, Thelonious Monk, Miles Davis. I could go on and on.
I don't think we listened to any rock n' roll at all in the early days. It was Miles Davis and John Coltrane 95% of the time.
When I have to compete with John Coltrane and Miles Davis and Louie Armstrong on iTunes, which I'm doing now, that's a problem. That means that jazz is not being heard by younger audiences.
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 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?
For me, the bold jazz of John Coltrane and Miles Davis reflected the bold attitude in African-Americans finding their political identity and voice.
Coltrane was moving out of jazz into something else. And certainly Miles Davis was doing the same thing.
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.'
See, we started out with a foundation of blues. But then we added people like Miles Davis and John Coltrane to the mix and gave rock n' roll a much more complex structure. It made it possible to play more than three chords.
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 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.
The only person I have regrets about is Miles Davis. He and I had become good friends after we did a photo shoot and coincidentally we kept running into each other at parties and stuff. I regret not having written a hit for Miles Davis.
The only person I have regrets about is Miles Davis. He and I had become good friends after we did a photo shoot, and coincidentally, we kept running into each other at parties and stuff. I regret not having written a hit for Miles Davis.
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.
I changed the layout of comic books in general. When I came in, layout design wasn't really part of what you did. It was all just panels, panels, panels. So when I came in, I thought, 'Nah, let's change that,' and I designed the page.