There's like a special group of people that come from different parts of the planet to study with me. It's nice. I just gave a workshop in Boston at the New England Conservatory, which was really nice.

I just see myself as a human being that's concerned about life.

I want them to come away with discovering the music inside them. And not thinking about themselves as jazz musicians, but thinking about themselves as good human beings, striving to be a great person and maybe they'll become a great musician.

Some tracks are with quartet and some tracks are with synthesizer.

We're here to bring beauty to the world and make a difference in this planet. That's what art forms are about.

I just try to play music from my heart and bring as much beauty as I can to as many people as I can. Just give them other alternatives, especially people who aren't exposed to creative music.

I've got a collection of songs that I've had, I keep adding to and they're all great American composers. I wanted to showcase American composers and I've done that on a lot of my records and played things by American composers that I really respect.

There's like a special group of people that come from different parts of the planet to study with me. It's nice. I just gave a workshop in Boston at the New England Conservatory, which was really nice.

When we first started playing we did a lot of rehearsing. We used to write out everything. In fact, that's the way everybody rehearses: we play the tunes and improvise.

James Cotton is a real blues guy, and he played with Muddy Waters, and it surprised me that they would want me to make a record with them, that he called me to do this record. I'd never done anything like that before. But I love blues, so I was very happy.

It used to be that creative music was most of the music that you heard back in the '30s and '40s, and now it's like 3 percent. So, its kind of a struggle getttin' it out there.

As long as there are musicians who have a passion for spontaneity, for creating something that's never been before, the art form of jazz will flourish.

The bass, no matter what kind of music you're playing, it just enhances the sound and makes everything sound more beautiful and full. When the bass stops, the bottom kind of drops out of everything.

I always told the people at Cal Arts that if they wanted me to do Jazz studies, first of all, there couldn't be a big band within 500 miles and that I could do what I wanted to do. And they said I could.

I have music inside me and I'm very lucky to be able to play music and that's the way that I try to do it.

I just sit down at the piano and rattle it off.

I always felt that I was born in the wrong era. I wanted to be friends with John Garfield, for instance.

I can write a song about my hero Che Guevara and call it 'Song for Che.'

I don't sing now, because I had polio when I was 15, bulbar polio. This was when the epidemic was happening. And I was lucky that it didn't affect my lungs or my legs. It went to my face and kind of paralyzed my vocal chords, and I wasn't able to sing. And they said I was very lucky that I would get over it, which I did.

I have a very clear picture of what I want to do and what I feel is important as far as my contribution or my appreciation and respect for this life that we're living, and to try to make it better. I can't feel that I'm making it better playing commercial music, and I never could, and I never will.

I listened to classical music. I listened to jazz. I listened to everything. And I started becoming interested in the sounds of jazz. And I went to a concert of Jazz at the Philharmonic when we lived in Omaha, Nebraska, and I saw Charlie Parker play and Billie Holiday sing and Lester Young play, and that did it. I said, 'That's what I want to do.'

I think it's very important to live in the present. One of the great things that improvising teaches you is the magic of the moment that you're in because, when you improvise, you're in right now. You're not in yesterday or tomorrow - you're right in the moment.

I want to expand jazz; I don't want to keep the audience limited. I want to reach people who have never come to a jazz concert before. One way to do that is by making records that have a lot of different kinds of music on them.

I wish I could've been friends with Charlie Parker and played with him. That's my period. I feel real close to the '40s - and actually, I was born in '37, so I was a kid singing on the radio in the '40s. But I always dreamed of going to big cities.

My parents were on the Grand Ole Opry. They traveled all over the country singing hillbilly music. That's what they called it back then. They were friends with Roy Acuff and the Delmore Brothers and the Carter Family. And all of my brothers and sisters who were older than me started on the show, after they were big enough to hold a guitar and sing.

When you listen to a symphony orchestra, and the basses don't - there's no bass part, there's not that much depth. That's why I'm attracted to the instrument, the bass. It brings depth. It's like playing in a rainforest.

You can't be at your full creative power if you are sedated.

The bass no matter what kind of music youre playing it just enhances the sound and makes everything sound more beautiful and full. When the bass stops the bottom kind of drops out of everything.

That's the thing about musicians: The priority is to create something new that's never been before. And you put your life on the line every time that you play.

There was a time when I was wondering about this business of going public, so I visited about a half-dozen companies in the Boston area, all of them formed by MIT faculty and all had gone public.

Was the crew well? Was I not? I had profited in many ways by the voyage. I had even gained flesh, and actually weighed a pound more than when I sailed from Boston.

Our situation here, without any exaggeration, is beyond description almost; it is such as eye has not seen nor ear heard, nor hath it ever entered into the heart of men to conceive Boston ever to arrive at.

A very considerable body of the German people live in America and propose to fight that Government. Bourke in his great speech last week welcoming the Belgian mission to Boston worked out the President's meaning with care.

At a Boston signing, someone from the audience asked why I was so obsessed with furniture in my books. The question rattled around in my head. I had no idea that I was obsessed with furniture.

My father was the orphaned son of immigrants to the United States from Ireland. My father never knew his parents. His mother died - we're not sure - either at or shortly after his birth, and he and all of his siblings were placed in orphanages in the Boston area.

Boston is the engine of the state's economy.

And it was from Boston that one in every six American families began their journey into the land of the free.

I don't believe a manager ever won a pennant. Casey Stengel won all those pennants with the Yankees. How many did he win with the Boston Braves and Mets?

There isn't much discussion of ruling class in America even in Boston, probably one of the most class-conscious cities in the country?

In my freshman year in high school, I went to the only public high school in Boston with a theatre program.

The word survivor suggests someone who has emerged alive from a plane crash or a natural disaster. But the word can also refer to the loved ones of murder victims, and this was the sense in which it was used at a four-day conference in early June at Boston College.

Probably the biggest thing that surprises people is that I am obsessed with hockey. I grew up in the Boston area so I am obsessed with hockey since I was a little kid.

When I go abroad I always sail from Boston because it is such a pleasant place to get away from.

I'd rather entrust the government of the United States to the first 400 people listed in the Boston telephone directory than to the faculty of Harvard University.

Here's what I see all across this great city - people working together to make Boston a better place to live and to raise children, to grow and pursue dreams.

Paul Farmer has helped to build amazing health care system in one of the poorest areas of Haiti. He founded Partners in Health, which serves the destitute and the sick in many parts of the world from Haiti to Boston and from Russia to Peru.

I recently did a piece for the Boston Pops and John Williams, and I hope that it's as well a composed piece as I've ever done for any other medium or occasion.

If you're writing a piece for the Boston Pops, the balance is towards one end. If you're writing a piece for a chamber music society, then it's towards another point. I won't make a final answer on that. I think it changes with every piece.

Let's use the energy of this historic year to propel us toward our shared vision of a greater Boston.