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I think that once people open up to it, and they try it and start playing it, then they find that they love it, and they want to employ these ideas in whatever they are doing. You can only really depend on yourself, the song is a very loose map, like a map written on a napkin, you know? And then you create a path in these sounds yourself. This is music that’s free! And I think that sometimes people are intimidated because it’s a very wide language and there’s a lot of stuff in there. There’s melodies, there’s songs, there’s chord changes, and all that kinda stuff, but the level of interpretation that you get is what actually drew me to it. I think the most distinctive characteristic of jazz is that everyone on the stage gets to contribute all the time. For me, it was really a very intuitive thing – it wasn’t deliberate. It was like once I got into the Jazz Messengers, then I really got into Wayne Shorter, then I got into Miles Davis, and that led me to John Coltrane, and that led me to… you know, there’s just this journey where you see one thing, and it helps you understand another thing. If you ask me what’s a good jazz record to listen to first, I can’t even tell you. I didn’t really know who he was, but I was already into jazz at that point. By the time I heard Pharoah Sanders for the first time, I was already into the Jazz Messengers. I was instantly in love, and the crazy thing is that you get music, and you share it with your friends, and all of a sudden, 74th Street Elementary had a big contingency of Art Blakey fans. Art Blakey’s drums hit me in the same kinda way. I recognized some of the samples Tribe Called Quest had used, and something about that music just hit me the same way the drums on something like what Dre would produce were hitting me. He made me a mixtape of a bunch of Art Blakey and Lee Morgan songs, and he asked me to go check my dad’s record collection and see if he had any of these songs.
#FIFTH HARMONY SONG SAMPLES GOTTA GET THRU THIS HOW TO#
Now, you want to hang out with your older brother, and all of a sudden, I had the path to hang out with them because he liked the fact that I could read songs and show him how to play ’em. And I had a cousin (he was more like my brother’s best friend, we even called each other cousin) that made beats, rapped, stuff like that, played trumpet too, and he loved Art Blakey. My dad was always playing me jazz records, and I never disliked it, but it always felt like that was his thing.
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It felt like he was gonna knock us off our chairs. I remember he had this big, long, white beard, he had these glasses, and he played with this big old sound. I’m sure my dad took me to other stuff, but the show that I remember going to – feeling like I was a part of it and I wasn’t just getting dragged along – was Pharoah Sanders playing live at the World Stage. Some kids are into skateboarding we were into music. And my friends were the kids of his friends, so all my friends were into music too, so that was our little thing. He said I used to sit at the piano all day and just bang on it when I was a baby. My dad would take me to concerts, take me to his shows, take me to his rehearsals, we’d go to jam sessions, and I’d always hang out and listen. But I always loved music I never even went through a stage where I wasn’t just fascinated with music.
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Me? I was really into gangster rap, so I was listening to N.W.A., Snoop, Dre, Too Short – stuff like that. My mom was more like on the Chaka Khan/Whitney Houston thing. My dad is a saxophone player and jazz musician, so he was always playing a lot of jazz, pretty avant-garde jazz at that. I’d been playing music all my life, but pre-13, I’d just started playing the saxophone. Here, he explains his life, mind, and process to Steffan Chirazi. It is fair to say that Kamasi Washington’s take on “My Friend Of Misery” Is one of the most daring, dangerous, and rewarding adventures on The Metallica Blacklist. Kamasi Washington: The So What! Interview