Wynton Marsalis: I always equated rock with something social like meeting girls and stuff. I never equated it with music. So, I would be on the bandstand, and the music itself was all right, but I had also heard my daddy and them play. So, I knew what was going on our bandstand — playing rock — wasn’t what was going on his bandstand. Also, I had played with orchestras, and I definitely knew what was going on an orchestral bandstand was not what went on on our rock bandstand. There is a lot of debate about how “it’s just music,” and all this stuff that people talk now, if you stand on all those different bandstands on a certain level, you know that it’s not all just music. It’s something very different that goes on in all of those instances. It’s like, if you go in a club to hear Coltrane play, or you go into one of these clubs down on 42nd Street and take in a burlesque show, well it’s a club and you are going out, but it’s very different. But jazz, it’s just the soul of it and also the intellect of it. To listen to John Coltrane when he starts playing. I’d come home and put that Coltrane record on, “Cousin Mary” would be playing, just the sound in that music. I’d be pantomiming like I was a saxophone player, just listening to ‘Trane, that type of cry that he had in his sound. And, I wanted to make somebody feel like how that made me feel listening to it. And, Clifford Brown and Miles Davis, when he was playing jazz, early Miles, I would listen to Clifford, just the way he could play, the style of the music, the feeling of it, the whole lifestyle, the whole jazz. It was all in my mind then. Even though my father was a musician, he was my father. I didn’t look at him like anything but my father. But, on these records then I could hear just a pride, a something, a dignity. They had a nobility to it, a profundity. I just wanted to be part of it, even though it didn’t exist in my era.