As for the symphonic activities... when I was a student at the Eastman School of Music, I became exposed to a lot more musical forms, elements, opportunities, and I fell in love with strings and their uses.

I do not mind having written the song at all. I just wish that I had written it in a different key, as the high d is hard to play. I am glad that I wrote something that brought joy to millions of people.

My brother had a big band in high school; after that we continued to play together, eventually forming a group called the Jazz Brothers, that recorded for Riverside Records.

Not with the Rochester Philharmonic, but I formed my own orchestra, made up of musicians from the Eastman School, where I'm on the faculty now, direct the Jazz Ensemble and teach improvisation classes.

The hiatus you spoke about happened in 1998. I was somewhat numb from being out on the road every night. I had to stop because I was emotionally and physically drained.

I have been recording for five decades now.

I made many studio albums and I think the danger of studio recording is that if you do not watch out, you come out with a perfectly sterile performance.

I write music people enjoy playing and listening to, and I have a group that loves playing the music.

To do it always right, that is what music is to me.

I was blessed to work with The Jazz Messengers when the two piano players were Keith Jarrett and Chick Corea.

Brazilian music has many of the ingredients that I strive for in my own music: Strong melodies and a disciplined but intense rhythmic concept, and interesting harmonies.

Then I loved the fact that we were actually recording live.

Music is meant to be a beautiful thing.

Because I don't believe music can be free unless it has something to be free from.

With four people you can create one very strong kind of energy, but if you can get 65 people working together, and swinging together, that's a whole other kind of energy.

We may play in a contemporary rock vein, use standard bebop themes, and many other things besides.

My music has always been strong in melodic content.

I can count on one hand the number of instrumental hits there have been over the last ten years.

I tend to not want to put labels or categories on the music, only because people come with preconceived ideas about what they're going to hear, or won't come for this reason.

What's happened - in our country, anyhow - is that the young people have shied away from the formality of the concert hall, that tie - and - tails philharmonic image.

Whether it's string writing or whatever, I try to write for what each instrumentalist can do best.

To pay 60 musicians for rehearsal and performance is quite something, and I decided I wouldn't be able to handle that kind of situation financially again, unless somebody else was taking care of that end of it.

I am glad that I wrote something that brought joy to millions of people.

I find it very difficult to compose when I'm not playing.

1972 was a year of many pleasant and rewarding experiences for me:

As for the symphonic activities... when I was a student at the Eastman School of Music, I became exposed to a lot more musical forms, elements, opportunities, and I fell in love with strings and their uses.

Most recently we've been working in concert situations rather than clubs. because there aren't too many rooms there like Ronnie Scott's, that are pure music rooms, where people come specifically to listen to music.

A studio recording is perfection, but emotion and passion come only when you turn on the machine and go for the groove. If you do that with no mistakes, it sounds beautiful.

Not compromising the music, but there is a way, by just showing the people that you're sincere and honest with what you're doing, and by talking to them.

My goal was never to sell many records.

In 1994, I started touring again and I recorded two albums for Chesky Jazz.

There's not much in the way of written-down arrangements - just things that Gerry and I have worked out, from playing spontaneously together and hanging on to whatever seems to fall in right.

We assume that celebrities have it easy and so love to watch them having to endure a bit of hardship.

I love Nautilus and stretching. The results are immediate, and that gives me the motivation to continue.

I am a ordinary teenager. I fall in love like everyone else.

I don't call you handsome, sir, though I love you most dearly: far too dearly to flatter you. Don't flatter me.

The essential elements of giving are power and love - activity and affection - and the consciousness of the race testifies that in the high and appropriate exercise of these is a blessedness greater than any other.

My mother keeps things in perspective for me. She makes me realize that the acting I do and love is no more important than what one of my brothers does-he works in a shoe repair shop. If my career ever tapers off, I'll go to college.

Actors love mental disorders, dialects, and corsets. Give them one of the three and they're happy.

My goal is, of course, for this show to do well, and I would love it if people liked it.

I love living on that stage. Without that, I'd die.

I love my DSL, but I love my WiFi more. And I probably get on the Internet 40 percent to 50 percent more because of the combination of those technologies.

But I love New York. I used to set my alarm clock when I was there, and get up at 4am and get a coffee, just because I could.

I love children and I love men, but I can't commit to either for the rest of my life.

Sitting at home the way I do, I'd just love the hear from people. It'd be a great help in passing the time.

The wise are wise only because they love. The fool are fools only because they think they can understand love.

We can recognize the dawn and the decline of love by the uneasiness we feel when alone together.

Love is a mutual self-giving which ends in self-recovery.

People react to fear, not love; they don't teach that in Sunday School, but it's true.