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.
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.
If you try to have a fashion show with Bach fugues and John Coltrane, it doesn't really work.
My father was a jazz tenor sax player. He played in a lot of big bands. So I had that sound around me all the time. The first record that really caught my ear was Clifford Brown's 'Brownie Eyes.' I grew up listening to John Coltrane and Illinois Jacquet. This is where I come from... I love improvisational music.
Coltrane was moving out of jazz into something else. And certainly Miles Davis was doing the same thing.
In America, for a brief time, people who followed Coltrane were studied and considered important, but it didn't last long. The result is that the kind of music I played in the '60's is completely dismissed in this country as a wrong turn, a suicidal effort.
Find a beautiful piece of art. If you fall in love with Van Gogh or Matisse or John Oliver Killens, or if you fall love with the music of Coltrane, the music of Aretha Franklin, or the music of Chopin - find some beautiful art and admire it, and realize that that was created by human beings just like you, no more human, no less.
Coltrane would do what you'd get a Roland Pro Tools module to do but with a group of jazz musicians.
Jazz is very important. It's not something I can put my finger on. When I'm writing at my favorite time, I like to have the gentle side of Coltrane or Brubeck on the CD player. It creates sort of a spiritual space in which I write best.
I have tons of jazz records: John Coltrane, Thelonious Monk, Miles Davis. I could go on and on.