I know what the power of silence is. When I used to play in clubs, everybody was loud; there was a lot of noise. So I would take my mute off the microphone, and I would play something so soft that you could hardly hear it... and you talk about listening. Roy Eldridge did that. He's one of my favorites.

Naw, I wasn't going to sell my principles for them. I wanted to be accepted as a good musician and that didn't call for no grinning, but just being able to play the horn good. And that's what I did then and now. Critics can take that or leave it.

A lot of people ask me where music is going today. I think it's going in short phrases. If you listen, anybody with an ear can hear that. Music is always changing. It changes because of the times and the technology that's available, the material that things are made of, like plastic cars instead of steel. So when you hear an accident today it sounds different, not all the metal colliding like it was in the forties and fifties. Musicians pick up sounds and incorporate that into their playing, so the music that they make will be different.

Take it off! That's some sad __, man. In the first place, I hear some Charlie Parker cliches. . . . They don't even fit. Is that what the critics are digging? Them critics better stop having coffee. If there ain't nothing to listen to, they might as well admit it. Just to take something like that and say it's great, because there ain't nothing to listen to, that's like going out and getting a prostitute. [Leonard Feather: This man said he was influenced by Duke Ellington.] I don't give a ! It must be . Right? I don't care who he's inspired by. That __ ain't nothing. In the first place he don't have the - you know, the way you touch a piano. He doesn't have the touch that would make the sound of whatever he thinks of come off. I can tell he's influenced by Duke, but to put the loud pedal on the piano and make a run is very old-fashioned to me. And when the alto player sits up there and plays without no tone . . . That's the reason I don't buy any records.

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.

What am I supposed to say to that? That's ridiculous. You see the way they can __ up music? It's a mismatch. They don't complement each other. Max and Mingus can play together, by themselves. Mingus is a hell of a bass player, and Max is a hell of a drummer. But Duke can't play with them, and they can't play with Duke. Now, how are you going to give a thing like that some stars? Record companies should be kicked in the _. Somebody should take a picket sign and picket the record company.