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.

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.

There's not one Tin Pan Alley song on my record.

The biggest problem with American music right now, is that kids don't listen. They come by it honestly, Americans don't listen anyway. When people go to concerts, they say I'm going to see... not, I'm going to hear.

The piano is the X factor. People have a tough time following the structures when there's no piano there, spelling it out. It makes it more easily understood, particularly to people who don't know as much about music.

If you're going to use standards as criteria for signing musicians, you can sign thousands. If you're going to use some sort of conceptual interpretation that's based on the tradition of those standards, but is trying to move away from it, you're down to about 10 people or so.

Pop doesn't really look back. It can't. What makes pop work is simplicity.

That's kind of like how jazz is sometimes. You're out there predicting the future, and no one believes you.

It's hard to get into Newsweek because, as more of our former intellectual magazines take on a pop focus, if there's no buzz, there's no interest.

The whole point is, give me a break with the standards. You go to the average jazz label and suggest a record and they want to know which standards you're going to play. I'm saying let's break the formula.

My dad was a musician, it was just what he did, like another guy's dad drives a meat truck. Our house was normal. We weren't taken with the fact our dad was a musician.

One of the things that I loved about listening to Miles Davis is that Miles always had an instinct for which musicians were great for what situations. He could always pick a band, and that was the thing that separated him from everybody else.

What is jazz? It, It's almost like asking, What is French? Jazz is a musical language. It's a musical dialect that actually embodies the spirit of America.

I think that if you keep banging at the door all you need is a little foothold, a little tiny foothold, and then the rest will take care of itself.

The lion's share of what I hear right now are people who, intentional or accidental, have avoided all jazz prior to 1960. And all the musicians who were successful in the '60s spent their entire lives, prior to 1960, listening to all the musicians these people avoid.

It's something that jazz has gotten away from, and it's unfortunate. Players aren't physical anymore.

If I were like a lot of other people, then it wouldn't be fun; but since I'm like me, it's okay.

I gave up my base in popular culture when I left the Tonight Show.

I suspect that we might actually start selling some records with these artists in about 10 years. Some the people who invested, they're a little tight-because it's a lot of money to start up a company.

Jazz fans love Miles and I love him for a myriad of reasons, but the overviews are always too simplistic.

Coltrane came to New Orleans one day and he was talking about the jazz scene. And Coltrane mentions that the problem with jazz was that there were too few groups.

A lot of musicians have a tough time hearing what we're doing in a trio format.

If you listen to a lot of the songs that are popular now, there's very little melody in there. People love the beat. But to musicians, it's melody, because we understand how elusive it is and how hard it is to hold.

I'm not going to play funk licks on a jazz album. That makes no sense.

You hear it in your brain. Whatever makes sense. Some songs work well as quartet songs, sometimes they don't.

We played it as long as we could play it on that CD and I think it might be 50 minutes, maybe. What you have to do is play a couple of songs and then get off the stage because everything that trails it sounds stupid.

I like to make records sound good. I'm more like a reducer than a producer. If an artist cannot produce themselves, what's the point?

There's a certain kind of motion and pacing that our music has, and this just doesn't have that. We just kind of rushed to the conclusion of most of the songs. I just would've preferred to done them over.

If it's not going to sound like Terrapin Station, what's the point of playing Terrapin Station?

One of the things that's clear to me from interviews that I've read is that the more popular successful jazz musicians had audiences above and beyond the music community.

When you're dealing with music without words, titles are more a means of identification than anything else. What's the point of getting lofty?

I think that one of the problems that jazz has is that it's so incestuous that it's starting to kill itself.

Everybody talks about finding your voice. Do your homework and your voice will find you.

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.