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But if I got my mind on something about my band or something else, well, hell, no, I don’t want to talk. When I’m working I’m concentrating. I bet you if I was a doctor sewing on some son of a bitch’s heart, they wouldn’t want me to talk.

Being rebellious and black, a nonconformist, being cool and hip and angry and sophisticated and ultra clean, whatever else you want to call it — I was all those things and more. But I was playing the fuck out of my horn and had a great group, so I didn't get recognition based only on a rebel image.

Davis: I didn’t grow up with any, not as friends, to speak of. But I went to school with some. In high school, I was the best in the music class on the trumpet. I knew it and all the rest knew it — but all the contest first prizes went to the boys with blue eyes. It made me so mad I made up my mind to outdo anybody white on my horn. If I hadn’t met that prejudice, I probably wouldn’t have had as much drive in my work. I have thought about that a lot. I have thought that prejudice and curiosity have been responsible for what I have done in music.

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I remember one time - it might have been a couple times - at the Fillmore East in 1970, I was opening for this sorry-ass cat named Steve Miller. Steve Miller didn't have his shit going for him, so I'm pissed because I got to open for this non-playing motherfucker just because he had one or two sorry-ass records out. So I would come late and he would have to go on first and then we got there we smoked the motherfucking place, everybody dug it.