A Quote by Wynton Marsalis
I sounded like myself. People be saying I sound like Miles or Clifford Brown.
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And my identity...I never really wondered about it because, unfortunately, I sounded like myself. People be saying I sound like Miles or Clifford Brown.
One day I gave Clifford a bath. And I combed his hair and took hom to the dog show. I'd like to say Clifford won first prize...but he didn't. I don't care. You can keep all your small dogs. You can keep all your black, white, brown, and spotted dogs. I'll keep Clifford...Wouldn't you?
You see people you identify with, and you take pieces of people you like and shape who you are. Like, I sound just like my dad. But that's literally my vocal chords. I can't sound like anything else... I sound like him, but I act like myself.
I limited myself to one shout a day. But I didn't like the sound of my voice. It sounded panicked, it sounded scared. And I knew from experience you can't hear more than 50 yards either way down a canyon.
I believe that a hundred years from now, when people look back at the 20th century, they will look at Miles, Bird, Clifford Brown, Ella and Dizzy, among elders as our Mozarts, our Chopins, our Bachs and Beethovens.
If we are going to list guitar influences, the biggest one by far is Wes Montgomery. Also, Gary Burton was obviously huge for me in a number of ways. But beyond that, Clifford Brown, Miles Davis and Freddie Hubbard.
We had Bob's [Gordon] records, and he's on Clifford Brown's first record as a leader. I believe it was Clifford Brown's first record as a leader and had the original versions of Daahoud and Joy Spring that were arranged by Bob's best friend, the West Coast tenor player named Jack Montrose, who I later met.
I think the people who are sitting in their living room doing those, 'Let's take country music back' blogs and all that stuff, that's crazy to me. No one's saying that about rock & roll, and no one sounded like the Beatles since 1960. No one says that about R&B, and no one sounded like the Commodores since 1970.
Isaac Smith sounded like Curtis Fuller, Corey Hogan sounded like Sonny Rollins, Terrace Martin sounded like Jackie McLean. Already, at 13, 14, 15 years old.
It's weird to me when an artist comes in, and the label says, 'We want him to sound like Chris Brown,' but he says he wants to sound like Sean Paul. There's a huge disconnect - it's like we're making a product.
When your 18th, 19, 20 years old like we were at that time, its just like anyone else, you look at like Silverchair and bands like that that are super young and sound extremely derivative of bands that were out at that current moment. As they sounded like 'Nirvana in pajamas' as we called them, we sounded like Bon Jovi and Skid Row and Motley Crue, because we were only influenced by what was out at the time because we were so young
I really enjoy listening to players on the cusp of swing into bebop like Charlie Shavers, Clifford Brown and Clark Terry. They balance immense facility on their instrument with rhythm, melody, and more complex harmonies of the time.
Dave Rocha is a modern player out of the hard-bop tradition, with a beautiful sound and tremendous facility on the horn. You can hear the influence of Clifford Brown, Lee Morgan and others in his playing, but Dave has his own voice, and it's a nice one!
Most of the time when people work with an artist, they don't give them what they need for the future, they give them what their last album sounded like. So it's like, 'Oh, One Republic needs a song, why don't we send them 10 that sound like 'Apologize?'
When I first played New York, it was with James Brown at the Apollo, and I was playing in a band under the name The Valentinos. I remember Sam Cooke saying, 'I want you to go in there with James Brown. I couldn't be as hard on you as James Brown would be.' But we came out marching like soldiers.
Having heard Clifford Brown play all those fast runs, I used to really practice Clarke trumpet exercises all day long so that I could play fast. That's all I wanted to do. I was like a child with a toy.
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