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I've played with all of the heavyweights in the modern jazz, progressive jazz movement. I've been fortunate enough to play with them, a who's who. All of those guys, I've been fortunate enough to have performed with.
I was a kid living in New Jersey, who - I'd wanted to make movies since I was a little kid, so that came before music for me. But I started playing drums just as a hobby, and I wasn't even really into jazz that much.
The old jazz singers or old blues singers, you always just saw them kind of sitting down and singing. They weren't worried as much about their voice sounding perfect. They would make the song kind of fit their voice.
Well, I had started a program which is even longer running than this one in 1967 which was a jazz program called The Best of Jazz and that still goes out on Monday nights. That's been going for 33 years or something.
I don't really have a favorite genre. I could listen to a rock song, a metal song, jazz, pop music, whatever. For me, whatever style it is, it always depends on the chord progression, the lyrics, and the melody used.
The best gift I was ever given was the arts. My mum gave me those on a silver platter. Growing up, her and my grandmother would take me to ballets, classical concerts, even smoky jazz clubs I wasn't supposed to be in!
There's a wonderful tradition of jazz people getting on stage and jamming and finding some feeling for music with audiences who may be fresh. For others, it might be just like a comfortable shirt they've been wearing.
Ballet Hispanico is a mixture of ethnic, ballet, social, jazz - you name it, it's doing it. The company has been going strong for more than 20 years, and you can see why: It may not be refined, but it's full of beans.
I grew up listening to hipster jazz and classical records... we went and watched ballet and orchestras - lots of cool stuff. Which I'm really grateful for - it's pretty nice being introduced to that when you're little.
The way that we imitate each others' riffs is something that other bands don't do as much. If we're jamming with a jazz band, or I am jamming with a jazz band, I have to catch myself, the tendency is always to do that.
The type of band that I have now, the type of music that we're playing you either like it or you dislike it. If you dislike it, you probably don't know why. By the same token, you can't even really say why you like it.
If you ask me, rockabilly has had a raw deal for far too long. People never shunned the blues or jazz the way they do rockabilly. But it's the original punk-rock, and it changed the way people looked at music for ever.
But no one, when you stop to think, has ever equated abstract expressionism as a movement with jazz music. It's based on improvisation. The rhythms, the personal involvement, all of this is part of the jazz experience.
I have always been a person who is concerned with the dignity of jazz music and the way jazz musicians have been treated and are treated, and the fact that the music has not been given the kind of due that it deserves.
Charlie Parker was the greatest individual musician that ever lived. Every instrument in the band tried to copy Charlie Parker, and in the history of jazz there had never been one man who influenced all the instruments.
I was introduced to classical music by my grandparents - my parents were mostly into folk and jazz. Even as a young man, I was literally unaware of the distinctions between any of that, and I still think it's pointless.
I think the people who are saying jazz has to sound a particular way, or, 'What you're doing isn't jazz,' are just scared because they can't do it. A lot of them just aren't talented enough to do anything new, honestly.
It's a weird thing where, especially in jazz, you have to totally mention cutting sessions and people one-upping each other and people being super, super tough on each other. And out of it emerge these genius musicians.
I went to school for engineering, I studied jazz. So I always had this kind of creative side and technical side, and I thought architecture might be the way to combine them, so I went to architecture school in New York.
With rock music, the amount of power that you can generate, the intensity behind the intentions of your lyrics that you can really reflect through rock music - you can't do that in jazz. You can't do that with classical.
Many people don't understand how disciplined you have to be to play jazz... And that is really the idea of democracy - freedom within the Constitution or discipline. You don't just get out there and do anything you want.
In Montreal, there is a friend of mine at school who is a jazz pianist with an amazing voice, and we sort of have this fusion/soul/R&B/folk music kind of thing. We've been keeping it low-key and opening for some friends.
People like Art Blakey and Buddy Rich, you look at them playing music, and it's just like looking at a heavy metal drummer. I mean, they're playing with the same amount of ferocity. It's not to say all jazz is like that.
"Jazz" to begin with, is a really bad word... all the true musicians that really play jazz, jazz is the worst word for it. Jazz is a process. Jazz is a creative process. It's not so much a genre, but a way of expression.
I went to Juilliard in New York and used to do cabarets just for fun. Occasionally, I would get together with a jazz musician and play at a restaurant for cash. And I've done some background vocals for recording artists.
I don't want to appear hostile, like I'm hostile to L.A. or that I feel that the people don't appreciate jazz. I don't think it's that. I think it's something more. It's something a little bit more complicated than that.
My great inspiration has always been Studs Terkel, who is a wonderful American oral historian. He was a radio DJ at first, interviewed a lot of jazz musicians, and at some point started to interview Americans about work.
People have taken time out of their day and spent their money to come sit down at a concert. And it's jazz music-it's not easy for them to get to it. I don't want them ever to feel that I'm taking their presence lightly.
When I was young, I played the piano and studied classical music and jazz. I wanted to be a concert pianist, and if I'd devoted myself to it, I could have been. But it would have been too much work and a very lonely life.
My favorite type of music to sing to would be rock and roll, Tenacious D, Led Zeppelin, some Queen - I love all of them. I love singing to them because they're all just great voices. I love listening to very obscure jazz.
I'm a freak, everything has to be totally flat when I play. Ed Will, my jazz teacher, set up everything completely flat, and then you'd tilt your snare drum away from you, so I do that too. So my snare tilts away from me.
I play in a jazz sextet. So I don't have time to do a lot of conventions. The good thing is, when I do them, it does puts me back in touch with the people who go to movies. I do these shows just to stay in touch with them.
My big influences are Joni Mitchell, and a lot of classical and Indian music, as well as Nina Simone and the personal blues and jazz of Billie Holiday. Other influences for me include Bjork, Nick Drake, and Sufjan Stevens.
For me jazz is kind of an extension of hip-hop. Kind of the sad thing is that a lot of jazz people just listen to jazz, and a lot of hip-hop people just listen to hip-hop, and there's not a lot of crossover, unfortunately.
I was sometimes doing DJ stuff and working in a record shop in Tokyo. That place was a very unique shop. It was the place lots of DJs came to get used and rare records. It had a lot of jazz, funk, Latin and seventies rock.
The tapes we were making would jump around with different styles, just quick parts of different songs. Hip-hop to jazz to funk to whatever else. And in a way, 'Check Your Head' ended up being like one of those pause-tapes.
Jazz vision is the fusion of music and art a real paradox of same-yet different. Here we play in exchanges, like the hardness of the key of c# major and from the softness of Db major - capturing, reflecting and improvising.
Hamp would ask me about tempos in the band: 'Jacquet,' he'd say, 'knock off that tempo.' A lot of jazz musicians didn't prefer to play for dancers, which was their loss, really. But good jazz has always had that dance feel.
The jazz rhythm won't be understood by the bulk of my audience. That's the problem. We can get away with maybe one tune a night. It depends on where we place it. A song like 'Beyond the Sea,' the fans love that. It's fresh.
I'm comfortable singing jazz. The only thing I was concerned about is that everybody, even in jazz, has their own style. To me, the queen of doodling was Ella Fitzgerald, and scatting is something I never thought I could do.
I'm from the beatnik generation, where everybody wanted to be a poet or writer or something. And at that time, I was a jazz critic, and I was always thinking, theorizing about what makes great art or what's important in art.
I like textures and tones. Sometimes, it will be a melodic feedback from a song or something. I like warm, ethereal sounds. That kind of gets covered in every genre of music, so it could be a rock sample, jazz, soul, reggae.
I've mainly been sampling jazz because the tone of the chords are expressive in itself, so it's quite nice to write over. It's got interpretations of a lot of different genres, too, a lot of dubby-ness and experimental stuff.
When I was very young, there was a lot of music at home, mostly jazz. I was walking around singing and pretending I was in bands from a very young age. But the first song that was really personal to me was 'Blue Suede Shoes'.
For most Americans, poetry plays no role in their everyday lives. But also for most Americans, contemporary painting or jazz or sculpture play no role either. I'm not saying poetry is singled out as a special thing to ignore.
I grew up in the funk, rock and roll, blues and r&b tradition, and I came to this thing we call jazz later. And I came to improvise music from the standpoint of jazz; I was improvising, but within these other genres of music.
Sometimes I wish I could walk up to my music as if for the first time, as if I had never heard it before. Being so inescapably a part of it, I'll never know what the listener gets, what the listener feels, and that's too bad.
I had a very thorough grounding in music; I'd grown up around songs. My parents listened to a lot of music. My dad was majorly into jazz, which was absolutely a big influence on me, even if it was more subconsciously as a kid.
Europeans really provided many venues over there and hailed the jazz artists, and a lot of musicians went over there and stayed over there for a long time. A lot of them moved over there, lived over there, and died over there.
I'm not supposed to be playing, the music is supposed to be playing me. I'm just supposed to be standing there with the horn, moving my fingers. The music is supposed to be coming through me; that's when it's really happening.