"This is almost Devendra's Exile On Main Street. There's gospel singers on the song 'Saved', there's a song called 'Shabop Shalom' which is a satirical bar mitzvah song that he performs like Elvis. It has an epic jaw-dropping song called 'Seahorse' which alternates between psychedelic parts and jazz parts, a fuzzy roving ballad called 'So Long, Old Bean'. There's so much on it and I love that. Devendra was my neighbour in Brooklyn many years ago, and it was cool watching him become a superhero version of himself. He had that kind of bravery before almost anyone I knew, to embody their personal expression in this world. Devendra is a next-level master at combining musical, visual, and poetic aesthetics. For me he is a personal hero, his work is a benchmark of how much of your brain you can get out there it. We were born a few days apart, so we are really connected as peers."

"Joni's the greatest songwriter ever. And what a record. She writes as this omniscient narrator on this album, surveying everything from above, commenting on this world of women and predatory men she's created, and she has such power and agency as she does it. I've read about how music critics – male critics, let's be honest – struggled with this record at the time. Records like Blue, which touch on a woman's emotional struggles from a subjective standpoint, were so much easier and more comforting to them, I suppose. I love how she intimidated people, and didn't care. 
There's a great unreleased bootleg of demos of this album, called The Seeding Of Summer Lawns. Joni's got all these jazz cat musicians in, but she's written all these complicated flute and horn parts for them already, and sings them all, as they're all in her head. It's unbelievable. I can't speak highly enough of her, and of this."

"To me, this is another mood record. It's more about pieces, pieces of music. I suppose there are some songs there. There are melodies there but it's a bunch of complex pieces. I have a friend who works at a record store and he told me that this album is the most returned album they ever get. I guess people put it on and it's not what they expect from Miles Davis. It's not a bebop record. It's very orchestrated, it's jazz clusters, not rhythm. I hadn't really thought about it but I guess there are a few vibe albums on this list. I love a good album of pop songs but there is something about these ones that you can put on while you're going to sleep, when you're chilling out or after work. It's more about turning off your mind and letting the music wash over you. I like those kinds of records. "

"That was the first of his records that I jumped in on. It's a good record to jump in. For starters, he's like a one-man orchestra and he plays three saxes at once, but that kind of overshadows him as a musician in some ways. It's the emotional punch in his playing that's the important thing here. His personality really comes across and he also sounds impish at times, just like a naughty boy. Or like a street fighter. He's got so many aspects to his personality that he really does wear them on his sleeves. He can take things like a Rogers and Hammerstein tune and he can turn it into something else. The thing with jazz is that people think you have to approach it thinking really deeply, but with Rahsaan Roland Kirk the music is so immediate. It should impact you immediately. He's got a pop sensibility but he gets into some really deep stuff as well."