Jazz Rock Quotes

Some songs are just going to be acoustic with just maybe some light background stuff going on and maybe violin or something like that. Or sax - I mean, I'm definitely having some sax. That's just what I love. It's going to be jazz-rock stuff. That's what I'm aiming for.

There are a few things that I will hopefully be credited for as a pioneer. One is my four-mallet playing. Another one is the starting what was first called jazz rock in 1967 when I started my first band, later became jazz fusion by the 1970s.

I would hear Steely Dan on the radio all the time, and I listened to 'Aja' a lot. I mean, 'Black Cow' and 'Aja' and 'Deacon Blues' and 'Josie' and 'Peg'... all these songs are on one record. It's crazy!

My dad used to love Steely Dan, the Stones, Jethro Tull and all that. There was always Steely Dan going in my dad's car, but I remember The Royal Scam in particular because it has 'Kid Charlemagne' on it.

Rock and jazz came together in a very powerful way on 'Barabajagal.'

I remember playing Billy Cobham's 'Total Eclipse' for Snoop Dogg. I also played him Frank Zappa, 'Apostrophe.' And I played him 'Saint Alfonzo's Pancake Breakfast.'

Our band was different. We were still playing rock 'n' roll, but we had an entirely different sound: just one guitar, but an organ and a saxophone.

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.

I listen to Steely Dan. I really like Steely Dan.

There are no great jazz-fusion bands.

I just can't stand jazz/rock. I think it's the worst thing that's come down the river yet.

I think of Steely Dan as being of its time, and it may be inseparable from its time.

I've grown up with jazz - the Joe Hendersons, Oliver Nelsons, Miles Davis and stuff - but I was also listening to, like, Slipknot, Korn, and Rage Against the Machine. There was all of that weaved - interweaved - in there, and being from L.A., you tend to know your musical history.

I think I had heard Al Di Meola on the radio when I was a kid, that acoustic record, 'Friday Night In San Francisco,' with Paco de Lucía and John McLaughlin. His picking was unbelievable. I thought it was incredible.

The Mahavishnu Orchestra - when it came out, it was an explosion, completely unexpected as far as I was concerned. I was just forming a band.

Thundercat put me on to George Duke.

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

It's sort of what jazz would be if it stopped being snobby and what rock would be if it stopped being stupid.

To most people, jazz-fusion means this dreadful synthetic jazz-rock thing, this jazz-Muzak, which I detest. They also think of jazz as a specific form of music, while to me it's just the opposite.

Steely Dan is a band I'm not that into. Well, I guess I like certain singles.

I've been listening to Herbie Hancock forever. He's gone through so many transitions, even before bringing hip-hop to the forefront with 'Rockit' and everything.

The Zombies were really unique - they had elements of jazz and classical music in their songs and songwriting. They had a very, very different sound compared to a lot of their contemporaries at the time.

The first LP, 'Inner Mounting Flame,' is, of course, one of my favorites, and also 'Visions of the Emerald Beyond.' But the others are also very dear to me.

Most of the time when people say something sounds like Steely Dan, and I listen to it, it doesn't. And I'm not even sure what they're talking about.

We've now got a whole generation of jazz musicians who have been brought up with hip-hop. We've grown up alongside rappers and DJs; we've heard this music all our life. We are as fluent in J Dilla and Dr Dre as we are in Mingus and Coltrane.