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I couldn't do What's Love Got To Do With It, Tina Turner because it wasn't the right tempo so I scratched it from the record. I wanted to do it about a year ago, but something happened.

Miles Davis

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Miles Davis
Age: 65 †
Born: 1926
Born: May 26
Died: 1991
Died: September 28
Actor
Autobiographer
Bandleader
Composer
Conductor
Film Score Composer
Jazz Musician
Musician
Recording Artist
Songwriter
Television Actor
Alton
Illinois
Miles Dewey Davis III
Miles Dewey Davis
III Davis
Love
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Happened
Tina
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Wanted
Turner
Right
Tempo
Something
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Years
Couldn

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That's the way you judge a car, man, [good or bad], when you start it up. It's just the same thing. I mean, I drive a Ferrari - not to be cute, but because I dig it. I'd rather drive a ten-year-old Ferrari than one of them new things-they don't go.
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To keep creating you have to be about change.
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The reason [drummers] call things unison, and they sound unison, is because you actually play two different tempos . . . like you're a little sharp, or a little flat it's so slight that they call it unison, but it's not unison.
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Maybe you play a melody twice. You play it once like you like it, and some parts that you don't like you can just switch. An eight-bar motive - you can just take it and put it in the front or back or something like that. It can save you 50 or 60 or 70,000 dollars, a drum machine. That's why everybody uses it.
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If you have to ask, you'll never know.
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John Lee Hooker is the funkiest man alive
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If you have a tone like mine that is recognizable. No matter what I play, when you hear my tone you can tell it's me.
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I've gotten hernias from drummers when they drop tempo.
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You know why I quit playing ballads? Cause I love playing ballads.
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When you work with great musicians, they are always a part of you . . . their spirits are walking around in me, so they're still here and passing it on to others.
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When kids don't learn about their own heritage in school, they just don't care about school... But you won't see it in the history books unless we get the power to write our own history and tell our story ourselves.
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You can't play anything on a horn that Louis Armstrong hasn't played
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I've come close to matching the feeling of that night in 1944 in music, when I first heard Diz and Bird, but I've never got there. . . . I'm always looking for it, listening and feeling for it, though, trying to always feel it in and through the music I play everyday.
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The only reason to write a new song is because you're tired of the old ones.
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Jazz is the big brother of Revolution. Revolution follows it around.
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Bebop didn't have the humanity of Duke Ellington. It didn't even have that recognizable thing. Bird and Diz were great, fantastic, challenging — but they weren't sweet.
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Anybody can play. The note is only 20 percent. The attitude of the motherfucker who plays it is 80 percent.
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Somebody, my daughter or my wife, gave me a music box for Christmas. It plays My Funny Valentine on celeste, you know? So I had Bobby [Irving] just play Jean Pierre with the changes on celeste.
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It took me twenty years study and practice to work up to what I wanted to play in this performance. How can she expect to listen five minutes and understand it?
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You should never be comfortable, man. Being comfortable fouled up a lot of musicians.
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