I'm always trying to find 'connections' between things. That art is the juxtaposition of a lot of things that seem unrelated but add up to something recognizable.
I'm triggering acoustic instruments. I'm literally beating, smacking, hitting, blowing, doing physical things. It's an incredibly exciting way to make music.
Jazz is not something that can be defined through blunt instruments. It is much more poetic than that.
I don't worry too much about the fundamentalist principles that are in almost any discussion about jazz.
I was deep in the zone of practicing almost constantly.
The beauty of jazz is that it's malleable. People are addressing it to suit their own personalities.
'The Unity Band' project has been life-changing for me. I have led many groups of talented musicians, but this is unlike anything else.
I realized that equipment really had little to do with why I sound like the way I sound.
Listening is the key to everything good in music.
Whatever my recorded output is, it's a reflection of a general love of music.
I think I represent a more left-wing view of what jazz is.
It's more about conception and touch and spirit and soul than whether my hardware was in place.
People sometimes say it takes a long time to become a jazz fan, but for me it took about five seconds.
Someone who knew me when I was 14 said I was the oldest 14-year-old on the planet. Now I'm a 14-year-old who is 60.
The first thing I learned was the theme from Peter Gunn.
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