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.
That's kind of like how jazz is sometimes. You're out there predicting the future, and no one believes you.
Pop doesn't really look back. It can't. What makes pop work is simplicity.
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.
Jazz is so incestuous that it's starting to kill itself.
My job is to write songs that have emotional meaning to me.
So much of Jazz doesn't have an audience other than music students or musicians.
You don't know what you like, you like what you know. In order to know what you like, you have to know everything.
What is jazz? It, It's almost like asking, What is French? Jazz is a musical language. It's a musical dialect that actually embodies the spirit of America.
One of the things that's clear to me from interviews that I've read is that the more popular successful jazz musicians had audiences above and beyond the music community.
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.
It's something that jazz has gotten away from, and it's unfortunate. Players aren't physical anymore.
I'm not going to play funk licks on a jazz album. That makes no sense.
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.
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