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It's funny, though, speaking of fathers and sons, because me and John Goodman played father and son, like, five or six years ago in the film 'Death Sentence,' and I got back with him again in 'Inside Llewyn Davis.'
Sammy Davis, Andy Williams, Tony Bennett... their records sell in the millions; when I do it, it just trickles. But for the composer and lyricist, there's a tidy bit to be made that way, too, so I don't really mind.
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.
I am a leader. Leaders always get heat. They're always going against the grain. Jimi Hendrix got heat; Bob Marley got heat; Miles Davis got heat. Every great artist got heat. Heat means you're doing something right.
I am a leader, so leaders always get heat. They're always going against the grain. Jimi Hendrix got heat; Bob Marley got heat; Miles Davis got heat. Every great artist got heat. Heat means you're doing something right.
My musical selections are a reflection of how I grew up. Because, back then, you could see Miles Davis and Ravi Shankar on the same stage. And nobody thought anything of it, other than the fact that it was great music.
Everyone's talking about Phil Davis and what he did in college. It's an accomplishment to win an NCAA title. I don't want to discredit that. But I believe if I would have wrestled him in college, I would have beat him.
It's called 'Miles Davis, Prince of Darkness,' and it's about Miles Davis, the genius, and why he was the way he was, and how he changed music so many times. He changed music six times. So, I'm excited about that movie.
Joan Crawford and Bette Davis are larger than life. They just are. They sucked all the oxygen out of a room: they're icons; they loom large in our imaginations. But the truth of the matter is both women were diminutive.
Frank Sinatra was a great singer, but my favourite is Sammy Davis Jr. He had incredible versatility in his voice, often doing impressions of people. It's always going to be classic, and you'll never get bored listening.
I was listening to a lot of bebop. And to Miles Davis. Everyone thinks I was just in the folk world in 1966, but in 1963 and 1964, I was absorbing enormous amounts of music, from baroque to jazz to blues to Indian music.
I personally knew and worked with Sammy Davis, Jr. Sammy hired me to open for him at Caesars Palace in Las Vegas when I was a 19-year-old standup comedian, and that's where my fascination with his incredible story began.
Old Hollywood icons such as Marilyn Monroe, Vivien Leigh, and Bette Davis are so inspiring; their style is romantic and feminine and their glamour mesmerizing. I love the idea of channeling that spirit on your wedding day.
I think cool originates with the jazz culture in the '40s. There was probably cool before that, but that's when people started talking about cool - Miles Davis and Charlie Parker and a bunch of other early, cool jazz folk.
See, we started out with a foundation of blues. But then we added people like Miles Davis and John Coltrane to the mix and gave rock n' roll a much more complex structure. It made it possible to play more than three chords.
You're supposed to create new standards. The more you play songs by your peers, they become standards, you know? Miles Davis played 'Gingerbread Boy' 'cos he and Jimmy Heath were cool, you know? That's how the culture goes.
Back when Sammy Davis, Jr. and Dean Martin were doing roasts, they were all friends. They knew each other's children, each other's wives, each other's families. It wasn't about being disrespectful. It was about being funny.
I was very much raised by my grandmother, who actually was Bette Davis - looked like her, acted like her, talked like her. Probably, it was just out of my love and affection for my grandmother that I was interested in Bette.
I went to UC Davis because I wanted to be a vet. It's a great profession if it's right for you, but it's memorizing the bones and the muscles, and I am terrible at stuff like that. Also, there's a lot of blood and gore involved.
That period in the late Eighties and early Nineties was when I was playing my best snooker. My trouble was that I had so many bad habits that my preparation was terrible: people like Steve Davis or Dennis Taylor were model pros.
I believe, from reading biographies, that the great musicians have also been great cooks: Miles Davis, Dizzy Gillespie, Thelonious Monk, Max Roach. I think I've worked out why this is - unsociable hours, plus general creativity.
I wanted to do what I was seeing Dorothy Dandridge doing, what I saw Marilyn Monroe do, what I saw Bette Davis do. I wanted to do that: to tell stories. I wanted to make people laugh, make people cry. I wanted to be a storyteller.
All I really want to do is just keep acting, and some of it will stink, and some of it will be really good, and maybe when I'm 85 and presenting an Oscar like Bette Davis did, I can look back and say, 'It was okay, I did all right.'
I always knew I was going to be successful in some way with films. I don't know why. I had no particular talent, but I always knew I was going to be sitting in a dining room with Lucille Ball and at a cocktail party with Bette Davis.
My dad is Jean-Paul Bourelly, a really prestige guitar player in Europe, and he toured with Miles Davis. I was always surrounded by the most prestige kind of musicians from Senegal, Trinidad, Poland, Nigeria, and all around the world.
Here's the mark that a lot of people miss nowadays. Producers missed. They leave out the heart and soul. And that's what I learned from Sammy Davis, Jr., from Frank Sinatra, is when you went to go see those shows, you got to know them.
Miles Davis was a part of my life from 1947 on. I was born in 1941 and I first heard him in 1947 on a 78 rpm. And then I followed his career, starting with his first solo album in 1951. He was an icon and inspiration and a mentor to me.
I first met Miles Davis about 1947 and played a few jobs with him and Sonny Rollins at the Audubon Ballroom in Manhattan. During this period, he was coming into his own, and I could see him extending the boundaries of jazz even further.
I want to be known as a triple threat. I have aspirations to win an Oscar and a Grammy, and I also want to win a Tony. I want to be one of those guys like Frank Sinatra or Sammy Davis Jr. that crossed all those barriers of entertainment.
My first ambition in life, I made up my mind I was going to become Miles Davis. I studied music, music theory. I played trumpet for nine years. One day, my mother explained, 'You can't be Miles Davis. There's one, and he's got that job.'
The only person I have regrets about is Miles Davis. He and I had become good friends after we did a photo shoot, and coincidentally, we kept running into each other at parties and stuff. I regret not having written a hit for Miles Davis.
I would absolutely love to do something with Viola Davis or Meryl Streep. I just think both of those women fall so deep into their characters that you are no longer looking at the actresses, you are looking at the characters they embraced.
When it's all said and done, jazz with a capital J is where I'm coming from. Dexter Gordon, Billie Holiday, Miles Davis, Charlie Parker, Thelonious Monk - that's what I really studied when I was a teenager and what really fueled my passion.
I've really enjoyed B.R.P.D. since its first days when Guy Davis was an artist on the title, and if anyone is looking for an end of the world Cthulhu apocalypse title, Mignola and Arcudi and the artists who work the title do a fantastic job.
The platform we had in Dallas, the 1984 Republican platform, all the ideas we supported there - from tax policy, to foreign policy; from individual rights, to neighborhood security - are things that Jefferson Davis and his people believed in.
There's a time when it was an event for a black person to be on television. Where black households would gather around, 'Oh, you know, Sammy Davis is going to be on 'All in the Family' tonight! Let's go check it out!' It was a big, big thing.
It's weird, because American films in the 1930s and '40s, particularly melodramas, were made for woman, from Bette Davis to Joan Crawford to Barbara Stanwyck to Katherine Hepburn, and for some reason we've taken a step backward in this sense.
One of the things that I loved about listening to Miles Davis is that Miles always had an instinct for which musicians were great for what situations. He could always pick a band, and that was the thing that separated him from everybody else.
I look at the careers of people I'm standing on the shoulders of. People like Lena Horne, Ella Fitzgerald, Sammy Davis Jr., and Sarah Vaughan. These are icons I wanted to emulate, and I feel like they've been holding me up for quite a long time.
A lot of people who were the best in their fields. I was fortunate enough to be friends with Sammy Davis, Jr. - I spent a lot of time with Sammy. I was over at his house almost every night. Those people were very special and very special for me.
I keep saying that, if Samuel L. Jackson and Bette Davis could have a baby, it would be Taraji P. Henson. To me, she's one of the greatest character actors of our generation, let alone leading ladies. She's just phenomenal in everything she does.
I liked 'The Help,' and I love Viola Davis. But I didn't think that film was a great film; I thought that was a very uneven film. I thought the Southern women were so caricatured that it was kind of like 'Harper Valley PTA' or something like that.
Stand-up is my heart and now I get a chance to do that and the music altogether. That's going to be great. I'm trying to be the Sammy Davis Jr. of 2005. I'm planning on going out with Cedric the Entertainer because he's got that musical bone, too.
Having brought diversity to the air in the way that we have with Kerry Washington and Viola Davis toplining their shows, and then shows like 'Fresh Off the Boat' and 'Black-ish,' have been very important. I look forward to continuing in that vein.
I grew up in the sixties watching B.B. King and Tito Puente and Miles Davis and Coltrane, everybody, Marvin Gaye, Jimi. And at the same time, with my left eye I was watching Dolores Huerta, Cesar Chavez, Martin Luther King, Malcolm X, Mother Teresa.
I'm not head-strong, and I'm not egotistical. I understand certain things better now. I won't be trying to be play everyday. There's only one Cal Ripken, one Lou Gehrig and one Joe DiMaggio. What is good for them isn't necessarily good for Eric Davis.
Actually, a lot of my influences were horn players. I really liked Eric Dolphy, John Coltrane and Miles Davis - people like that. My dad had a lot of those records. So when I started playing jazz primarily, it wasn't jazz guitar that I was listening to.
Some of my best childhood memories are of watching Terrell Davis with my dad. I used to hang out when I was, like, 4 and 5 years old and play Power Rangers in the locker room with him and Shannon Sharpe and Rod Smith. And I loved Terrell. He was awesome.
My favourite actors are all dead or dying. I just love Jimmy Stewart, Bette Davis, Katharine Hepburn - I was named after her - and Cary Grant. I just love old black and white movies and the stars in them. It must have been a great time to be in Hollywood.
When you play for the Raiders and you play for Al Davis, it was always the talk that it was Al Davis against the rest of the league. Some of the calls that we would get, we would always say, 'Oh we got that call because of Al's relationship with the NFL.'