A Quote by Peter Weller

I went to North Texas State, one of the great jazz schools. When I realized I wasn't going to be Miles Davis, I switched my major to English and theater. — © Peter Weller
I went to North Texas State, one of the great jazz schools. When I realized I wasn't going to be Miles Davis, I switched my major to English and theater.
We can all be grateful that there is a place like (University of) North Texas! North Texas has been unique among schools in the country that offer jazz studies . . . quality!
If I'm going to be a jazz player, I need to understand Miles Davis.
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.'
Most of the international acceptance of jazz education can be traced to the University of North Texas, Denton, Texas, and the wonderful program they inaugurated.
Prince, you never knew what to expect from him from one album to the next. Miles Davis was like that. You know, once you get used to one style, boom, he switched it and, you know, switched gears on you. So those artists are very exciting to me, very exciting to follow their path, you know, and their journey.
Jazz music is as American as it gets, and so is the U.S. Postal Service. A Miles Davis stamp is a perfect marriage of two great American institutions.
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.
There was a call for part-time volunteers to teach at local government schools in Bengaluru and I was part of this program. That was when I realized the situation in these schools. I taught them English and even Class 7 kids didn't know basic English.
I have tons of jazz records: John Coltrane, Thelonious Monk, Miles Davis. I could go on and on.
People comment on the way that I phrase. And in my 20s, I realized, my phrasing is jazz phrasing. I don't comply strictly with musical theater phrasing. Musical theater tends to be very one and three, and jazz is definitely two and four.
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.
Coltrane was moving out of jazz into something else. And certainly Miles Davis was doing the same thing.
Miles Davis is a major influence of mine in terms of the way that I am as a bandleader.
I changed my major to English literature, which was on the advice of my father. I finally said, "You know, Dad, to heck with it: I'm just going to be an actor. But I'm going to go to school." And he said, "Well, if you're going to go to school, then major in English literature. Those are the tools you are going to be working with as a man who's going to be acting in English, one would assume."
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.
The starting point of all great jazz has got to be format, a language that you can work within that, in some ways, is much tighter than the blues or even gospel. It's all working towards the same destination - the difference being that Miles Davis flew there, and I'm still taking the subway.
This site uses cookies to ensure you get the best experience. More info...
Got it!