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The way that I got involved with microtonal music was, frankly, through jazz.
The way I like to cook is to have music going, usually jazz, and something in my hand, usually a glass of wine.
I was in every band class I could get in, like after school jazz band and marching band, and that's where I really learned to read music from elementary all the way through junior high and high school.
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.
My thing was, I loved music. I played music: I played the saxophone. So the little bit of music knowhow I had, I tried to implement that in every thing I did, from my style, my cadence, the way I tried to pause and stagnate it; that all came from John Coltrane and listening to jazz albums. Trying to rhyme like a jazz player.
Normally, things are viewed in these little segmented boxes. There's classical, and then there's jazz; romantic, and then there's baroque. I find that very dissatisfying. I was trying to find the thread that connects one type of music - one type of musician - to another, and to follow that thread in some kind of natural, evolutionary way.