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.

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.

When you use music to worship you are not attempting to entertain.

Pop music, disco music, and heavy metal music is about shutting out the tensions of life, putting it away.

When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.

You've got to realize. In the western world, regardless of what color you are, what title the music is, it's all played by the same notes.

Don't make music for some vast, unseen audience or market or ratings share or even for something as tangible as money. Though it's crucial to make a living, that shouldn't be your inspiration. Do it for yourself.

Whether I'm doing music or I'm walking down the street or I'm in a record store buying a record or I walk into a comic store and I'm buying comics or having a drink with my friends, it's the same me.

When rock came along the lyrics and melodies became less important and it bothered me to think that perhaps they might not regain the value they have to music - they are music.

I want to promote poetry to the point where you got all the baldhead kids running around doing poetry, getting the music out of the way and having only words, the spoken word, and then see what happens.

There is no music that can't be used politically, but the motives behind the creation of that music can be non-political.

The kind of music or the kind of arrangements that I do, the kind of musicians I choose, is just what I like to hear.

If not for music, I would probably be a very frustrated scientist. It's one way to answer the question, 'What is the meaning of life?' I feel music answers it better.

Since I'm allergic to various things, the army wouldn't accept me during the war, and I got into the Office of War Information, which sent music to Europe.

My singing is my hobby. It's me and my brother. We just enjoy writing music.

I was determined to carve out a music of my own. I didn't want to copy anybody.

I have tried to make the music a bit easier for them to understand.

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.