A Quote by Ted King

I have tons of jazz records: John Coltrane, Thelonious Monk, Miles Davis. I could go on and on. — © Ted King
I have tons of jazz records: John Coltrane, Thelonious Monk, Miles Davis. I could go on and on.
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.
When it's all said and done, jazz with a capital J is where I'm coming from. Dexter Gordon, Billie Holiday, Miles Davis, Charlie Parker, Thelonious Monk - that's what I really studied when I was a teenager and what really fueled my passion.
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.
For me, the bold jazz of John Coltrane and Miles Davis reflected the bold attitude in African-Americans finding their political identity and voice.
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 listened to King Oliver and I listened to Louis Armstrong, Jelly Roll Morton, Thelonious Monk, Charles Mingus, John Coltrane, Archie Shepp... I listened to everything I could that came from that place that they call the blues but, in formality, isn't necessarily the blues.
Coltrane was moving out of jazz into something else. And certainly Miles Davis was doing the same thing.
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.
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.
I believe, from reading biographies, that the great musicians have also been great cooks: Miles Davis, Dizzy Gillespie, Thelonious Monk, Max Roach. I think I've worked out why this is - unsociable hours, plus general creativity.
The first jazz pianist I heard was Thelonious Monk. My father was listening to an album of his called 'Monk's Dream' almost every day from the time I was born.
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 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.
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?
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.
Growing up, I listened to a lot of jazz and blues records - John Coltrane and Etta James. I was also really into Radiohead and the BeeGees.
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