Vinnie Colaiuta

Jazz attracted me because in it I found a formal perfection and instrumental precision I admire in classical music, but which popular music doesn’t have.

If I could sell 500 million records every time, it would be great. But I’ve also had the luxury experience of having it when I was a teenager, in a very kind of model version of it.

Everybody came. Everybody came to the Cotton Club.

What does music mean to you? What would you do without music?

I had a really good time in New Orleans, although I had some very tragic times in Baton Rouge. Some guys beat me up and threw my horn away. ‘Cause I had a beard, then, and long hair like the Beatles.

In order to complete your cycle, a musician needs to write; document what is going through your mind and where you are harmonically, theoretically, historically.

Miles Davis was a part of my life from 1947 on. I was born in 1941 and I first heard him in 1947 on a 78 rpm. And then I followed his career, starting with his first solo album in 1951. He was an icon and inspiration and a mentor to me.

When the label came to me to say, ‘would you like to do another record,’ I said, ‘Well I got these sixteen songs sitting here, so let’s do it.’ And that was pretty much it… I never stopped writing, it’s just the way that the business is now; you just try to find a different model.

Don’t worry about playing a lot of notes. Just find one pretty one.

If you find a note tonight that sounds good, play the same damn note every night!

I never heard of a Jazz musician who retired. You love what you do, so what are you going to do… play for the walls?

I don’t compose. I assemble materials.

We made records to document ourselves, not to sell a lot of records. I still feel that way. I put out a record because I think it’s beautiful, not necessarily commercial.

To me, singing is like talking. If it ain’t natural, it ain’t right.

I heard someone say ‘What’s that kid doing here? Call your piano player and let’s get started.’