But you got a lot of criticism for [using wah-wah pedals on horns] that. Why’d you go in that direction?
I don’t know. I don’t see it as going in any direction. I just see it as playing music of today, contemporary music. For me, the first guy who did that was Coleman Hawkins. Coleman always played with the young’uns. He was the guy who hired Thelonious Monk. He worked with Max Roach and Eric Dolphy. He never went back to playing Louis Armstrong music. That’s why I have kind of a problem when I see the New Orleans guys going back playing that old music. For me, that’s almost like Uncle Tomming. I love that music. I listen to it. But those guys did that.
Gary Bartz in Wax Poetic issue 52.
That is how I feel when I see that:
These are 2012 games. Guys. It’s too much out of our times. It’s not a matter of 2D or small budgets, we shouldn’t copy to perfection what games looked, sounded and felt like 25 or 30 years ago. It’s almost like we don’t believe that they can get any better than that. It’s like we’re hooked on a nostalgia binge that just doesn’t feel like going forward with our medium.
There isn’t enough experimentation.