Every time you learn a new language, your understanding of language overall grows, so every time I would learn new music, my understanding of music would grow because I was taken to an extreme in a different direction, and that was, in effect, carrying over into what I do.

Jazz is like a telescope, and a lot of other music is like a microscope.

There's a whole stereotype of the jazz musician that's into poetry and reading and metaphysics and all that stuff. Really, it's a sign of someone who's searching, whose mind is open, looking for answers. Whatever ideas you may come up with, the beautiful thing is the search.

I used to tell my friends, 'Art Blakey is way more gangster than Eazy-E!' I ended up getting my friends into jazz, and all of a sudden there was this little group of kids in the middle of South Central that were all into hard-bop.

When I first played some Coltrane-type stuff on the 'Pimp a Butterfly' sessions, Kendrick got it immediately. 'I want it to sound like it's on fire,' he'd say. That's the kind of common ground that the best jazz and the best hip-hop have.

Becoming a musician is a strange thing. It's not all cupcakes and ice cream. You're trying to master an instrument, and you sometimes can't tell if you're getting better. You love it, but you also hate it.

Gerald Wilson was one of my mentors: he was in his nineties before he passed and, literally, every time I saw him, he'd be like, 'Man, Kamasi, I've got this new thing! Nobody ever heard anything like this before!' It's amazing hanging out with somebody that was born in 1918.

My hope is that witnessing the beautiful harmony created by merging different musical melodies will help people realize the beauty in our own differences.

My dad was really into avant garde jazz: Archie Shepp, John Coltrane and Pharoah Sanders.