Most of what I listen to now is mainstream jazz from 1935 right up to and including early bebop and cool jazz.

I'm an exhibitionist, I was an exhibitionist as a kid.

When you're working in front of an audience, you have incentive to excel.

My uncle and my grandfather both worked in the Brooklyn Navy Yard.

If you asked anybody in my family, they would have very stridently proclaimed themselves middle class. My mother and father were separated, so he doesn't count.

One of my earliest memories... I knew three full verses of the Star Spangled Banner when I was seven or eight years old. And one of the nuns discovered this phenomenon and I was actually sent around from classroom to classroom to do the whole thing.

If I do a piece in my living room, if I practice it - and I have the tapes to prove this - it's not going to be as good as doing the same piece in front of an audience.

By the mid-70s, I wanted to get out of the business. I was tired anyway.

There is an apprenticeship system in jazz. You teach the young ones. So even if the musicians weren't personally that likable, they felt an obligation to help the younger musicians.

They basically said that if I didn't show up for school they'd mark me present, they wouldn't send the truant officer after me. At 16 I enrolled in something called continuing education. Once a month I'd go out to Jamaica, but I didn't take it seriously.

If there was ever any truth to the trickle-down theory, the only evidence of it I've ever seen was in that period of 1960 to 1965. All of sudden they were handing out major label recording contracts like they were coming in Cracker Jack boxes.

I don't think I went a year or so without a record between 1959 and 1979, sometimes two.

I cut myself off from the mainstream of jazz. It stood me in good stead later on, as a musician.

If you look at music, you see theme, variation, you see symmetry, asymmetry, you see structure, and these are related to skills in the real world.

I think I have more in common with a carpenter than you might think. We're putting things together.

Honesty is the cruelest game of all, because not only can you hurt someone - and hurt them to the bone - you can feel self-righteous about it at the same time.

Ian and Sylvia, who, when you got right down to it, were essentially country and western singers. I just recorded his Four Strong Winds. It's a wonderful song.

Most of what I listen to now is mainstream jazz from 1935 right up to and including early bebop and cool jazz.

I'm a very, very stubborn man.

You can't be afraid of failure and you can't be afraid of success, because either one gets in the way of your work.

In the early 1970s. 1971, '72. The rooms were closing down, record labels weren't signing acoustic acts any more. Although they had been pretty much been getting out of that for some time before that.

Most blues dont have a beginning middle or end. You just cut a couple slices of blues.

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.

People sometimes say it takes a long time to become a jazz fan, but for me it took about five seconds.

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.

Here in England we live at a slower pace, have more time to enjoy things - like good jazz.

Jazz is rhythm and meaning.

Many jazz artists go to L.A. seeking a more comfortable life and then they really stop playing.

A jazz musician can improvise based on his knowledge of music. He understands how things go together. For a chef, once you have that basis, that's when cuisine is truly exciting.