I'm not going to play funk licks on a jazz album. That makes no sense.
You hear it in your brain. Whatever makes sense. Some songs work well as quartet songs, sometimes they don't.
Coltrane came to New Orleans one day and he was talking about the jazz scene. And Coltrane mentions that the problem with jazz was that there were too few groups.
There's not one Tin Pan Alley song on my record.
It's something that jazz has gotten away from, and it's unfortunate. Players aren't physical anymore.
If you listen to a lot of the songs that are popular now, there's very little melody in there. People love the beat. But to musicians, it's melody, because we understand how elusive it is and how hard it is to hold.
Pop doesn't really look back. It can't. What makes pop work is simplicity.
The whole point is, give me a break with the standards. You go to the average jazz label and suggest a record and they want to know which standards you're going to play. I'm saying let's break the formula.
If you're going to use standards as criteria for signing musicians, you can sign thousands. If you're going to use some sort of conceptual interpretation that's based on the tradition of those standards, but is trying to move away from it, you're down to about 10 people or so.
My dad was a musician, it was just what he did, like another guy's dad drives a meat truck. Our house was normal. We weren't taken with the fact our dad was a musician.
Humans are imperfect. That's one of the reasons that classical and jazz are in trouble. We're on the quest for the perfect performance and every note has to be right. Man, every note is not right in life.
The lion's share of what I hear right now are people who, intentional or accidental, have avoided all jazz prior to 1960. And all the musicians who were successful in the '60s spent their entire lives, prior to 1960, listening to all the musicians these people avoid.
There's a certain kind of motion and pacing that our music has, and this just doesn't have that. We just kind of rushed to the conclusion of most of the songs. I just would've preferred to done them over.
The piano is the X factor. People have a tough time following the structures when there's no piano there, spelling it out. It makes it more easily understood, particularly to people who don't know as much about music.
A lot of musicians have a tough time hearing what we're doing in a trio format.
The biggest problem with American music right now, is that kids don't listen. They come by it honestly, Americans don't listen anyway. When people go to concerts, they say I'm going to see... not, I'm going to hear.
If it's not going to sound like Terrapin Station, what's the point of playing Terrapin Station?
When you're dealing with music without words, titles are more a means of identification than anything else. What's the point of getting lofty?
That's kind of like how jazz is sometimes. You're out there predicting the future, and no one believes you.
Jazz fans love Miles and I love him for a myriad of reasons, but the overviews are always too simplistic.
