And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.

These are the sort of things that push you on in music - the curiosity, a passion for new ideas.

I've been lucky to listen to lots of different types of music.

I know that when I make a record like The Delivery Man as a contrast to even Il Sogno, this is going to reach a wider audience, because it communicates in that very direct way.

Obviously the people that I admired, like the Beatles, were really into rock'n'roll, but it was already a little past rock'n'roll when I started listening and making my own choices about music.

You need a platform upon which to release an orchestral record, otherwise it's just going to be an obscurity.

I believe that music is connected by human passions and curiosities rather than by marketing strategies.

Obviously I got known for some other songs early on, and some of those were rock'n'roll songs. Some of them were melodic pop songs. And I've done lots of different things, as you know, but every so often I get drawn back.

And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.

There's no such thing as an original sin.

I found with this record I had to really be strong-willed, because in the past I've tended to tinker and add a thing or take a thing away, and nearly always been wrong.

Really the only thing holding a lot of records together is the personality of the singer, and the will to write all of these different things.

Maybe I just never learned my harmony part, because what everybody says sounds odd to them sounds perfectly natural to me.

I find humming is very useful.

I used to be disgusted; now I try to be amused.

My ultimate vocation in life is to be an irritant.

Very similar experience happened last year when we released this album, North. It was on Deutsche Grammophon, it was very, very honest. It was the most honest record I've ever written.

Well, I've had a lot of different experiences in music over the years. And not everything you do can satisfy everybody's idealised version of you.

Women hear rhythm differently than men.

You have to face the fact that I have no reputation as a composer; I have my reputation as a songwriter and a performer-and that opportunity came this summer, when I was invited to perform at the Lincoln Centre festival in New York... three nights.

I'd been to Memphis before, but we stayed out of Memphis early on in the late 70s for obvious reasons. People were very sensitive about Elvis Presley, and my stage name obviously would be provocative to some people in that area at that time.

But there are things in Il Sogno that the methods of The Delivery Man could never achieve.

And obviously, when I started out, I had a little bit more curiosity than some, and went seeking out the original artists, or in some cases searching up country music.

Mention Hubert Sumlin, as well, because Hubert's a great man, and again, you know, I don't play the guitar very good, but when I'm playing this kind of music, I always have him in my mind. I wish I could play like Hubert.

Well, T Bone's had a remarkable career as a producer since the time that we first worked together. He was dividing his time between recording and producing when we first met, and touring. We toured together and we were great friends.

And I don't feel any form of music is beyond me in the sense of that I don't understand it or I don't have some love for some part of it.

There are many critics who have an idealised version of where my strengths lie.

Sometimes I write notes that I have difficulty singing.

'Content' is a word that has never sat well with me. Like 'maturity'. They are two words I've never liked. I think they imply some sort of decay. A settling.

Life for me is about movement.

There was not a lot of rock n' roll in the house. Our parents didn't think it was very groovy, and I tend to agree with them. If you grew up with Charlie Parker, Bill Haley wasn't very hip.

Its a breath you took too late.Its a death thats worse than fate.

There are some things you can't cover up with lipstick and powder.

Was it a millionaire who said, "Imagine no possessions"?

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?