I've had experiences where people say, 'I hated jazz before I heard you guys!' I'm like, 'You didn't hate jazz before you heard us; you hated the idea of jazz.'
Kamasi WashingtonRead
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.
Interpretation
This quote highlights the fusion of jazz and hip-hop music styles across generations.
Kamasi Washington reflects on a new generation of jazz musicians who have been influenced by hip-hop culture, signifying a blend of musical styles that showcases the evolution of music. He emphasizes the fluency in both genres, demonstrating how artists can intertwine elements from both to create innovative and culturally rich sounds.
In practice
In a discussion about music evolution at a conference, one could reference this quote to highlight cross-genre influences.
I've had experiences where people say, 'I hated jazz before I heard you guys!' I'm like, 'You didn't hate jazz before you heard us; you hated the idea of jazz.'
I kept thinking about how ironic it is how people who live in places where there is diversity tend to love it - and the people that don't live in particularly diverse places tend to be the ones attacking it. In a way, that's similar to music, which is essentially the art of bringing things together.
My hope is that witnessing the beautiful harmony created by merging different musical melodies will help people realize the beauty in our own differences.
In general, in my life, one of the coolest things that I've been able to do is to go to different places and meet different people and see how they view the world and to learn what their music is and what their language is, and the food they eat and everything. That idea of the beauty of the vastness of the world has just been my life.
My third day playing saxophone, I was in front of a congregation. I still didn't know the names of all the notes. I was playing by ear, following along, but it was such an encouraging environment, I couldn't fail. It was all, 'Yeah baby, you sound real good' no matter what you play. It was a great way to learn.
I get offended when people say, 'So, being a white rapper...and growing up white...after being born white...' It's all I ever hear!
The trouble is now, with rock'n'roll and stuff, it gets so big that it loses what once upon a time was a magnificent thing, where it was special and quite elusive and occasionally a little sinister and it had its own world nobody could get in.
You'd be surprised. Drummers ape each other. The way every rock n' roll record sounds like something else but not all together. Everything other drummers play, if you're playing drums, they all hear.
Nobody could have predicted the effect of John Bonham's drum introduction on 'Good Times, Bad Times,' because no matter what he'd played in before, he'd never had the chance to flex his muscles and play like John Bonham.
I don't know why I write really depressing songs. I'm a kind of melancholy guy, I suppose. But I figure I'm about normal.
I always said if a man would have done half the records that I've done, we would know about it. But we don't know all the records I've done for other artists.
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