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The whole point is, give me a break with the standards. You go to the average jazz label and suggest a record and they want to know which standards you're going to play. I'm saying let's break the formula.
Branford Marsalis
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The piano is the X factor. People have a tough time following the structures when there's no piano there, spelling it out. It makes it more easily understood, particularly to people who don't know as much about music.
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The lion's share of what I hear right now are people who, intentional or accidental, have avoided all jazz prior to 1960. And all the musicians who were successful in the '60s spent their entire lives, prior to 1960, listening to all the musicians these people avoid.
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The biggest problem with American music right now, is that kids don't listen. They come by it honestly, Americans don't listen anyway. When people go to concerts, they say I'm going to see... not, I'm going to hear.
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That's kind of like how jazz is sometimes. You're out there predicting the future, and no one believes you.
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Pop doesn't really look back. It can't. What makes pop work is simplicity.
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One of the things that's clear to me from interviews that I've read is that the more popular successful jazz musicians had audiences above and beyond the music community.
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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.
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My dad was a musician, it was just what he did, like another guy's dad drives a meat truck. Our house was normal. We weren't taken with the fact our dad was a musician.
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Jazz fans love Miles and I love him for a myriad of reasons, but the overviews are always too simplistic.
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It's something that jazz has gotten away from, and it's unfortunate. Players aren't physical anymore.
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It's hard to get into Newsweek because, as more of our former intellectual magazines take on a pop focus, if there's no buzz, there's no interest.
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If you're going to use standards as criteria for signing musicians, you can sign thousands. If you're going to use some sort of conceptual interpretation that's based on the tradition of those standards, but is trying to move away from it, you're down to about 10 people or so.
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