There's a richness to the old works if you look before the 1950s. The chord progressions and the language was more complicated, especially in the jazz and classical world.
Once you've developed some technical facility on the guitar, the musical side (which entails theory, harmony, chord structure, ear training, sight-reading, composition and being able to hear chord progressions and licks) comes into play a lot more.
Personally, I think young musicians need to learn to play more than one style. Jazz can only enhance the classical side, and classical can only enhance the jazz. I started out playing classical, because you have to have that as a foundation.
Whichever chord progressions move me, whether it's rock, jazz, doo-wop or soul, I'm going to put it together and not be worried about whether people can put it in a lane or not.
Trust me, the only real way to understand 'Chic' is in highfalutin terms. Our chord progressions were based on European modal melodies. I made those early 'Chic' records to impress my jazz friends.
I tend to hear rhythm and melody, chord-progressions, long before I hear words.
The melodies are always the most important part to me. I am pulled more to the groove than the chord progression. After you find the groove, you find the most simple chord progressions and then sit inside that groove.
Language is the biggest barrier to human progress because language is an encyclopedia of ignorance. Old perceptions are frozen into language and force us to look at the world in an old fashioned way.
When I was nine years old, I started playing guitar, and I took classical guitar lessons and studied music theory. And played jazz for a while. And then when I was around fourteen years old, I discovered punk rock. And so I then tried to unlearn everything I had learned in classical music and jazz so I could play in punk rock bands.
I started off with classical music, and I got into jazz when I was about 14 years old. And I've been playing jazz ever since.
Jazz isn't as profitable for labels like Hip hop or Rap. Jazz needs subsidies to continue, just like European classical works of Bach and Beethoven are subsidized.
With Audioslave, it's all about melody and chord progressions.
The average age of the Jazz audience is increasing rapidly. Rapidly enough to suggest that there is no replacement among young people. Young people aren't starting to listen to Jazz and carrying it along in their lives with them. Jazz is becoming more like Classical music in terms of its relationship to the audience. And just a Classical music is grappling with the problem of audience development, so is Jazz grappling with this problem. I believe, deeply that Jazz is still a very vital music that has much to say to ordinary people. But it has to be systematic about getting out the message.
I love to work with producers who are very good with their chord progressions.
When we improvise freely - that is, without a structure - it tends to sound more like 20th century classical music, more like a classical ensemble improvising, as opposed to a free-jazz group, where you're more used to hearing saxophones honking.
Shook is the musical universe I created. I come from a classical and jazz background and my father is a jazz pianist, so my world bears largely the marks of this influence. As a sort of gateway, I started composing my own music on the computer at the age of 13. Before Shook, I had not yet discovered the kind of music I wanted to dedicate myself to, so I did a little of everything.
I listen to old jazz and classical music, and that's it.