We played it as long as we could play it on that CD and I think it might be 50 minutes, maybe. What you have to do is play a couple of songs and then get off the stage because everything that trails it sounds stupid.
There's a certain kind of motion and pacing that our music has, and this just doesn't have that. We just kind of rushed to the conclusion of most of the songs. I just would've preferred to done them over.
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.
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.
I suspect that we might actually start selling some records with these artists in about 10 years. Some the people who invested, they're a little tight-because it's a lot of money to start up a company.
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.
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.
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.
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.
