"Dick Hyman was a jazz guy who went Moog. He released a series of Moog-only albums consisting of originals and covers, such as the analog watershed of the Beatles’ “Ob-La-Di, Ob-La-Da.”"

"Black Unity is one song played live that lasts about 35 minutes and it's free jazz but it has a very deep groove. There's a drummer and a couple of percussionists and the bass player is locked into them. It's almost the jazz version of the Stooges song 'Fun House' if that makes any sense. It's not free in the sense that the drummer's going off, or everyone is going off at once. There's a deep groove but there's also looseness to it too."

"King Krule doesn’t seem too concerned with genre definitions, which is something I’ve noticed about younger artists. You could review him and say, “It’s a little bit hip-hop, it’s a little bit jazz” – but that’s boring."

"The juxtaposition of the African folk art with the superkitsch mods with scooters and sitars creates some beautiful friction. It actually captures what the record sounds like. Out-of-tune sitars blanging senselessly over mid-60s mellow jazz."

"I got it and I burned it and listened to it on the plane a lot. That one, for her, it goes back to trying to play more old-style jazz and she's playing incredible piano on it and the drummer's incredible. It's just a sick record. When you listen to an incredible jazz record, it's just undeniable, nobody else can touch it, no white dude - and if they can, it's too schooled. That's why I like that one - I can reference the later, freer ones, but I listen to a lot of older records. There's obviously Love Supreme, but that's obviously a transitional record from [John Coltrane's] earlier ones, Soul Train and Giant Steps. This is more advanced than that: they're definitely alluding to older jazz and taking it to another place, but they never go too apeshit, they never start squealing, but that's a special record."