I'd actually been making my living as an organist with bands since I was probably 15 or 16 years old, and then as a senior in high school I put together a jazz quintet called The Bobby Mack Jazz Quintet.

Well, I started conducting kind of by accident. I wanted to give myself a special birthday present for my fortieth birthday, and I was living in San Francisco at the time and I started attending some of the concerts and then simply dropping hints.

Then when I was in grammar school I played the clarinet, and then, after clarinet I played the flute in college orchestra - besides singing in the college chorus and things like that.

Then I came up with this crazy idea just to walk out on the stage with no band at all and just start singing whatever came to mind. I actually fought the idea for a while because it seemed almost too radical, but it became obvious what I was supposed to be doing.

Part of our responsibility as parents, as adults, is to set examples for children. But we have to like children in order to be really happy fulfilled adults.

I like to use the audience as my color palette, my instrument.

Seriously though, my father was the first African American to sign a contract with the Metropolitan Opera so I grew up with classical music and jazz in the home all the time.

But, if there's any aspect of my career that needs attention, it's writing.

I played piano as a kid; I still play a little bit.

I do a lot of performing, but don't get a chance to go to the studio and write good music.

I'd actually been making my living as an organist with bands since I was probably 15 or 16 years old, and then as a senior in high school I put together a jazz quintet called The Bobby Mack Jazz Quintet.

I don't want anything to get in the way of me and my singing. I want my mind as clear as possible.

Then I left that school and I went to Cerritos College, which was in southern California; they had one of the best big band programs in the country at the time.

My father was a very disciplined singer who worked hard at his craft, and I was around that growing up.

I want to write a book of poetry, as well as children's stories.

If I can bring joy into the world, if I can get people to stop thinking about their pain for a moment, or the fact the tomorrow morning they're going to get up and tell their boss off... then I'll be successful.

Miles Davis turned his back to the audience when he came out on stage, and he offended people. But, he wasn't there to entertain; he was all about the music. I kind of do that.

It's not that I don't love the song. My songs are like my children: some you want around and some you want to send off to college as soon as possible.

I did the one concert, and I was not bitten by the conducting bug, and I thought I was done, but then the phone started to ring, and gradually, over time, I started conducting more and more. Now a third of my performances are with orchestras.

I like a very dark house, just black. I sit there and just think. Once I'm still and quiet inside, I'll begin. It's very personal; it has to be. One song may be Bach, the next blues, a song from TV, or a nursery rhyme or jazz piece.

I prepared five songs, I sang them, and he hired me. I started working about a month later at the piano bar.

I have a lot of albums yet to do.

I grew up in a time when being a musician and learning to be a musician was actually very wonderful.

My biggest musical influences are probably my parents.

When I'm on stage by myself, I don't have to think about anything. I don't have to worry about anything because I'm not responsible for anything except just opening my mouth and making sure music comes out.

The true musician is to bring light into people's hearts.

In every life we have some trouble. But when you worry, you make it double.

Musicians are the architects of heaven.

The blues is the foundation, and it's got to carry the top. The other part of the scene, the rock 'n' roll and the jazz, are the walls of the blues.

What makes my approach special is that I do different things. I do jazz, blues, country music and so forth. I do them all, like a good utility man.

In my view a jazz musician is a great musician.

Words are the children of reason and, therefore, can't explain it. They really can't translate feeling because they're not part of it. That's why it bugs me when people try to analyze jazz as an intellectual theorem. It's not. It's feeling.

So our ears got used to listening to jazz in the place that it was that the bass player could not play. No one really realized it and really addressed it until the bass players who could play their instrument came along and started doing something with it.

It is veneer, rouge, aestheticism, art museums, new theaters, etc. that make America impotent. The good things are football, kindness, and jazz bands.

Humans are imperfect. That's one of the reasons that classical and jazz are in trouble. We're on the quest for the perfect performance and every note has to be right. Man, every note is not right in life.

I hate Stanley Clark, but I have to admit he's playing Jazz whether I like it or not.

I have to plead basic ignorance of most new jazz artists here.

If one takes all the styles in jazz harmonically from the earliest beginnings to the latest experiments, he still has a rather limited scope when compared to the rest of music in the world.

I don't know who's 18 years old today that, 20 years hence, is going to be a jazz fan.

I don't like freedom jazz - I think it's void of roots and void of foundation.

Jazz needs the help. It's the more sophisticated music. All the other music is on the TV, but jazz isn't.

I listened to Billie Holiday a lot in order to learn to sing. She remains one of the extraordinary jazz singers. But my intent is to become my own voice, to be able to interpret these songs in my own way.

I think what we need is a more welcoming mode from the people who put on a hundred million country-western shows on television. How about a monthly jazz show?

Life is a lot like jazz... it's best when you improvise.

I still love the whole history of jazz. The old things sound better than ever.

A jazz musician is a juggler who uses harmonies instead of oranges.

Jazz is a music of great achievements but speed and chops serve a different function in jazz.

I don't want to appear hostile, like I'm hostile to L.A. or that I feel that the people don't appreciate jazz. I don't think it's that. I think it's something more. It's something a little bit more complicated than that.

Eclecticism is the word. Like a jazz musician who creates his own style out of the styles around him, I play by ear.