"I started playing flute when I was about six or seven and I transferred to saxophone when I was 14. It was mostly just playing trad jazz in the school jazz band and so I'd actually played a lot of jazz, because I was classically trained too, so I'd read a lot of jazz solos. But I hadn't really heard much modern jazz. I started listening to Miles Davis and Charlie Parker at the same time as I started listening to The Velvet Underground and Led Zeppelin. I was completely obsessed with jazz for so many years. That was all I listened to. John Coltrane and Miles Davis were like my bread and butter for so long. But obviously, where there's John Coltrane, there's Wayne Shorter, there's Archie Shepp, Joe Henderson, all these other people, and the same with Miles Davis. Miles Davis I've taken such inspiration from because he's someone that says: you've got to change, you've got to adapt to survive. You can't just stay doing what you're doing, you've got to try and engage with the zeitgeist. He was unique in the jazz world really. The people that came after him, that he brought up musically, if you like - Herbie Hancock, Keith Jarrett, Weather Report, Chick Corea - obviously they were very much engaged in the music of the time but Miles was so fearless and iconic, not just as a musician but as a figure in his society. To be young, angry and black was such a unique thing. He was absolutely amazing. I've got so much respect for him."

"The Man Who Recorded the World is a biography of Alan Lomax, who's the folklorist in the United States who was the first person to record people like Leadbelly and various other blues artists. He travelled around the South in the Forties with a wax cylinder machine to record these artists who no-one had ever recorded before. It's amazing to read as a producer and engineer, but also as someone who travels a lot and is exposed to a lot of different music. It's by John Szwed, who also did a biography of Miles Davis."

"This reminds me of the time I went through a big Miles Davis phase. Talk about going into different worlds with an artist – he did that every time, from Kind Of Blue and Porgy and Bess onwards, anyway. This album's still the one I return to, from 1969, and the band is phenomenal. You've got Herbie Hancock and Chick Corea on electric piano, Wayne Shorter on soprano saxophone, John McLaughlin on guitar. This is truly cosmic music for me, or even music that feels like it's emerging from the cosmos. As it plays, you feel like you're coming up with the sunshine."

"Tony Williams was Miles Davis' drummer throughout the 60s and he was really young; he was only 17 when he started playing with Miles. As he entered his 20s, flower power and Jimi Hendrix was all kicking off and he wanted to get more amplified. He wanted to sing as well, which was a problem within The Tony Williams Lifetime, as he wasn't a great singer; he used to sing a quarter-tone flat. He's also the reason John McLaughlin moved to America. Tony heard him on some tape and invited him over, and he introduced him to Miles Davis. And the other member of The Tony Williams Lifetime was this amazing organist called Larry Young. He later had these funk hits like 'Turn Off The Lights' and he's probably more famous for that kind of thing, but he originally started off on Blue Note as this Jimmy Smith-type organist. His style comes from John Coltrane and in actual fact he used to practice with Coltrane. He had a real modernist approach to the organ. The thing about this band is that they did turn it up to 11. They really did over-amplify and distort things. There are no decent recordings of The Tony Williams Lifetime because it's all so overblown. It feels like it's on fire and it's so intense. The drumming is insane and the organ is about texture. This is a record that I've never got fed up with."

"He's known in the indie rock subculture as the other half of a band called The Folk Implosion that he was in with Lou Barlow from Sebadoh. They did most of the songs on the Kids soundtrack and their song 'Natural One' was a single in the 90s. John was also a member of the Palace Brothers which was Will Oldham's band from before he became Bonnie "Prince" Billy. So he has a little bit of history collaborating with other great people, but he also made a series of lo-fi home recorded records in the 90s. It is a strange, outsidery folk record. It's psychedelic and a little reminiscent of things like Syd Barrett and Skip Spence's Oar, but it also has this really interesting British folk, Incredible String Band type of 12 string guitar playing. The lyrics are very free associating, somewhat improvised, very intimate and very quiet. His records are so intimate that he broke down a wall between himself and the tape recorded that had never been broken down before. It makes you feel like you're in this tiny little space with him and his singing you this craziest record. I discovered this album at Kim's Underground, a record store in New York. I just bought one of his cassettes off a rack because it looked interesting to me. I'm really lucky I grabbed that tape because Leave Home was the most listen to record of my early teenage years. The style was so inspiring to me growing-up, that all I wanted to do was make John Davis-like songs. A lot of the early Moldy Peaches songs like 'Lucky No.9', 'Lazy Confessions' – all these things on the first album – are me trying to copy John Davis' stuff."

"I thought I don't like it as much as the one I mentioned before, and maybe I still don't, but then once I heard it in the 'phones again, there's something. Then I was listening to that one a lot in the car when I was driving around LA. It just opens your mind. It's undeniable music, untouchable music. Those three people, you just can't really touch them. If you were supposed to pick the greatest musician in the world, I suppose I would have to say John Coltrane. But they're all lumped together because obviously Alice Coltrane does things that John Coltrane can't; same with Pharoah Sanders, it's an extension of John Coltrane. They were put on this planet, they were special beings. I'd appreciated jazz since high school, I played in the jazz band. Then I got some jazz records and enjoyed them, for sure. Growing up, I think the Miles Davis later records hit me first, when I was a late teen, early twenties, Bitches Brew, the classics like Kind Of Blue, and then someone in Boston that I knew turned me on to In A Silent Way, which I really like, it had that Fender Rhodes on it and Chick Corea. But then I read the Miles Davis autobiography, circa 2004: that's like a lesson in jazz in a way, in his cocky way; he saw it all. I remember when I was in Boston, I bought this Thelonius Monk record, Underground, and there's a scatty song on there called 'In Walked Bud' and that always blew my mind. I got heavy back into jazz, and then back into Coltrane circa 2005, 06, 07, I just had some resurgence recently."

"I have three copies of Live Evil on vinyl because I play it so much. My favourite period of Miles Davis is from Bitches Brew to Big Fun, but in terms of the musicians on it, this is a compilation so you get almost every musician he played with in that period. Hermeto Pascoal is on it, and Airto Moreira – usually it's just one of those guys. John McLaughlin's on it, Billy Cobham my favourite drummer and Jack DeJohnette, my other favourite drummer. On the same song! Keith Jarrett, Herbie Hancock, Joe Dallin... you get all the greats of that period on one record. In terms of the Miles Davies free form jazz album, that's the one to get."