Paul Horn Quotes

The Lounge Lizards were relating with a tradition and it was like I was playing within a musical context. The guitar playing stood out as being different in some way. That was a real education for me.

New Age is a very small box. It was a term that was brought in by the music industry to classify music that is neither jazz, classical, pop or rock. They didn't know what to call it or what to do with it. So they threw it all together under this one name.

I think I came across Cecil Taylor a bit later, in 65 or 66. That really impressed me - Cecil Taylor is an amazing character... Both his music and the way he approaches the instrument are astonishing.

I had heard Ornette a couple of times, but I didn't really know where he was coming from until we started the record and it was beautiful, Fred. It opened up my mind.

I always leaned toward free jazz... experimental jazz and progressive jazz. I feel like jazz is just part of the flavor and palette that you have as a musician to experiment with.

The beauty of jazz is that it can accommodate all styles. You can take jazz and put rock in it, and it's still jazz.

Bjork's album, 'Homogenic,' it's got beats, strings, traditional Icelandic stuff. That's my benchmark for what an album should sound like, right up there with Coltrane's 'A Love Supreme' and Marvin Gaye's 'What's Going On.'

We listen to a lot of classical and a lot of jazz, and so you get some funky notes here and there. And we get a little experimental in some of the deeper tracks.

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.

There's so many different styles and facets of the 360-degree musical sphere to listen to. From tribal to classical music, it's all there. If the bottom was to sag out of that, for God's sake, help us all.

I've never been a jam-band sort of musician.

I can imagine an utter hatred for the jazz avant-garde.

Well, remember that we were all members of the Association for the Advancement of Creative Musicians.

Coltrane was moving out of jazz into something else. And certainly Miles Davis was doing the same thing.

I'm very eclectic in my music tastes - anything from Nina Simone to Beethoven to Talvin Singh.

Change is always happening. That's one of the wonderful things about jazz music.

I am a massive fan of early electronica like Steve Reich, Pat Metheny and Thomas Dolby. I used to be a big raver, too, so anything dance. I love ambient music like Tunng. I love acoustic and classical, too.

The pianist Cecil Taylor is extremely melodic; the guitarist Derek Bailey is extremely melodic, and Ornette Coleman.

The jazz chord substitutions in a country song... that was another thing that bent people's ears. I guess that my favorites are the unique ones. It's not how fast you play. It's that unique blending of different stuff I'm most proud of.

There is a modern take on certain things you can do that, to me, is still jazz.

The Geezer album, Black Science, had a lot of keyboards and it did not work.

I'm into heavy duty, psychedelic, foreign music. That's what I like listening to.

I love Ornette Coleman. I love Don Cherry. I love the way those guys play.

I had the fortunate experience to play with people from different schools of music. Sam Rivers is from the fundamentalist school of music.

I don't think I've ever been true to jazz. There's always a kind of jazz element to what I do. There are a very few genres that I haven't tried out, really, in what I've been doing. As a jazz musician, you can kind of mess about with things with a certain level of musicianship, which helps.