We are all on the same trip in the band. We all realize that people in the music business, and the audience have an eye on us because collectively our history is extensive.
I've been a religious, spiritual person for a long time.
And jazz is also for the body because it is rhythmic, but it's also for the mind and for the soul, and it is very creative.
The mixture of all kinds of things, all kinds of beings - it's just like what we have here in this country.
Lionel can play anything totally out, blues, tear-jerking stuff, rock and African, ... Carlos didn't know him, but he trusted my judgment. When Lionel played, he blew everyone's minds -- the audience and Carlos' band. Their jaws were hanging.
We talked for a couple of hours before we played a note. We didn't talk about music, we talked about life - families, children, issues in the world, politics, so many things. The kind of camaraderie we developed helped make the music what it is. I wanted to find a common ground and connect as people first.
Creativity shouldn't be following radio; it should be the other way around.
You can practice to learn a technique, but I'm more interested in conceiving of something in the moment.
When I was a kid, I used to sit up in bed, put my elbows on the windowsill and look out at the stars and wonder. About space, eternity, the concept of God and creation.
We wanted to share creativity and didn't want to be bound by traditional jazz conventions.
Getting the Oscar had the biggest impression on me.
Americans are taught that white people did everything, but that is changing. American history and our dealings with other cultures are a constant conflict of understanding.
One of the greatest attributes of jazz, I think, is that it is that open.
He was a man of mystery, magic and mystique. It was often said he was an enigma. I would venture to say that many who said that just didn't get it.
Since time is a continuum, the moment is always different, so the music is always different.
I don't look at music from the standpoint of being a musician I look at it from the standpoint of being a human being.
I'm aware that a lot of what is happening in jazz has not had a very dynamic change in a long time.
Wisdom corresponds to the future it is philosophy.
A lot of times, other people turn me on to new people that are doing stuff, so I don't consider myself a spokesman for everything that's going on in jazz.
I'm involved in the Thelonious Monk Institute of Jazz, and I work with students with that, and I also help try to raise funds for that.
When I was a kid, I won a contest and played a Mozart concerto with the Chicago Symphony, and I've written some movie scores, and I've been listening to orchestral music for years.
When I did Future 2 Future, it occurred to me, that I hadn't really done anything in electric music in a while.
I'm always looking to create new avenues or new visions of music.
He just blew me away and what it taught me was that Miles didn't hear it as a mistake.
Jazz is a music that translates the moment into a sense of inspiration for not only the musicians but for the listeners.
But I have to be careful not to let the world dazzle me so much that I forget that I'm a husband and a father.
I feel a lot more secure about the directions I take, than I might have, had I not practiced Buddhism.
So in other words, we were constantly challenged to grow, and that's what a master does.
There's Charlie Parker and there's Miles, there's Trane. I'm none of those guys, so why am I beating myself up trying to find the lost chord all the time
Other highlights When I started practicing Buddhism 21 years ago. Marrying the woman I married 26 years ago my wife is quite a woman. The birth of my daughter. Joining Miles Davis' band.
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