When you have an acoustic bass in the ensemble it really changes the dynamic of the record because it kind of forces everybody to play with a greater degree of sensitivity and nuance because it just has a different kind of tone and spectrum than the electric bass.

Instrumental music is increasingly marginalized and there's just no outlet, there's no venue for it, in terms of media.

You're only as good as your last record.

When you have an acoustic bass in the ensemble it really changes the dynamic of the record because it kind of forces everybody to play with a greater degree of sensitivity and nuance because it just has a different kind of tone and spectrum than the electric bass.

Its all about finding the right note at the right place and knowing when to leave well enough alone. And that's a lifelong quest.

Well, I guess my unease with that is... I'm always a little uneasy with that phrase - smooth jazz, as opposed to what?

As a melody instrument player, it's all about getting from one note to the next, and those intervals and how you navigate your way through these vertical structures of chords. You realize that everything's moving forward, and it's all linear.

Everyone goes through the ups and downs of living - fretting about the future, worrying about what happened. Music teaches us how to be in the moment.

I always wanna be in the process of evolving and growing.

I became a musician because I love music, and that is what has sustained me; it's not because I thought it was a great way to make a living. Music saved my life.

I have pretty ecumenical tastes. I'm interested in a lot of different kinds of music, so I don't listen with a jaundiced ear to music because it's in a certain category, whether it's country or opera or hip-hop or bebop or whatever it is.

I look at the artistic process as like experiencing the world, channeling it through your personality and sending it back out there. That's the process.

I tend to play in a way that feels natural to me. To me that's authentic for myself. I play by where I'm led by some sense of where I feel I'm supposed to be.

I think 'Horace Silver' was actually the first live jazz group I ever heard back when I was a kid in St. Louis. So along with most players of my generation, I have a real affection for the music of 'Horace Silver.'

In most of the stuff that I've done over the years as a sideman, I wasn't really a session musician, because to me, a session musician is a guy who makes his living in the studio, and I never really did that.

In regard to music, I just think that it's always best to have an attitude of being a perpetual student and always look to learn something new about music, because there's always something new to learn.

In regard to music, I just think that it's always best to have an attitude of being a perpetual student and always look to learn something new about music, because there's always something new to learn. Don't dismiss something out of hand because you think it's either beneath you or outside of the realm of where your interests lie.

Jazz music by its very nature is just a conglomerate of a lot of different kinds of music.

Jazz music should be inclusive. Smooth jazz to me rules out a certain kind of drama and a certain tension that I think all music needs. Especially jazz music, since improvising is one of the cornerstones of what jazz is. And when you smooth it out, you take all the drama out of it.

Music is just kind of an expression of who I am. It's what I do.

Music is like an open sky. You know it's out there... and there you are.

My drummer, Gene Lake, is Oliver Lake's son. So I certainly have wide tastes, in not only what I listen to, but what I play as well.

Ninety-nine percent of the music that was of any interest to me when I was growing up came out of the black community.

To me, the object of practicing is to allow you to play what you hear. But you're always hearing new things, so you never get to the end of it.

When I make records, I never listen to stuff after it's done. Ever.

When you're on stage, unless you surrender to the moment, you're not telling the truth. I look for people that tell me the truth.

While St. Louis is technically regarded as part of the Mid-West, it's actually - geographically and emotionally - more part of the South. I mean, the sensibility of St. Louis is really very much that of a Southern Mississippi river-town.

I think that that's the way the music grows and changes and becomes new and creative and vital. It's by synthesizing elements from all around it and not to maintain this kind of rigid myopic kind of tunnel vision, in a sense, trying to maintain a certain kind of purity, or whatever.

We should have a State in which we could live and breathe as free men and which we could develop according to our own lights and culture and where principles of Islamic social justice could find free play.

So, first you have to be able to play with a metronome. Then you take your freedom. If you play in an orchestra, you got to watch the conductor, he is like a metronome, but it is more difficult because he can change rhythms.

Never play anything that don't sound right. You might not make any money, but at least you won't get hostile with yourself.

A play is much easier to maintain your personal life with because if you're rehearsing, you're working like from 11 to 6 or 11 to 5 and you get to have your whole morning and your whole evening. When you're doing the play, you have all day.

I'd like to one day play Amanda, the mother, in The Glass Menagerie.

I couldn't be happier about being a part of 'Hunger Games' and to play Katniss. I have a huge responsibility to the fans of this incredible book and I don't take it lightly. I will give everything I have to these movies and to this role to make it worthy of Suzanne Collins' masterpiece.

For years the Trio did nothing but play for musicians and other hip people. We practically starved to death.

If you give it good concentration, good energy, good heart and good performance, the song will play you.

Genius is not a possession of the limited few, but exists in some degree in everyone. Where there is natural growth, a full and free play of faculties, genius will manifest itself.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

If Davis Cup was a little bit less or once every two years, I would be more inclined to play. But the way it is now, it is too much tennis for me.

I remember him watching me through the crack of a door singing with a hairbrush. I was in front of his mirror. I think he wanted me to sing. He would get me on the table and make me sing sometimes or play the piano. He was very encouraging on that front.

If you watch a game, it's fun. If you play it, it's recreation. If you work at it, it's golf.

You have to like the characters you play.

Good directors say, Here's where the play is. They stand by the heart of the matter. Some of them stand beside it.

The value of music is to be able to play one note at the right time in the right way.

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.

Well, I play Jews and parrots. Parrots are how I've branched out.

We just have to get it going and play hard every time out.

Art is an expression of who you are. Parts that I play are my sculptures.

There is an audience for every play; it's just that sometimes it can't wait long enough to find it.