Well, in Japan, I have got a group of musicians that I have worked with a lot, that concentrate just on the hardcore stuff, say, that Naked City has been working on. We have like a repertoire of sixty songs now.

That's where I began to ask questions that maybe don't have one specific answer. And the more people you get answers from, the richer the environment becomes.

And I try to be as diplomatic as I can, but it always ends up being a psychodrama up there on stage.

It's a matter of keeping people on a spontaneous edge.

Like you have seven people with their hands up. I gotta make a choice. Y'know, that's tough. Sometimes I gotta go with someone that has an idea and make several calls in a row, because they got an idea.

Great musicians accept everything that they hear and find something good. They take what they like and they throw away what they don't like.

It breaks even. We lose ten, twenty grand every year. But then the people who are working say, Look, I'll kick this back in, I don't need to take this profit share. It's very cooperative.

I run around, I listen to a lot of music, go to a lot of concerts. And when I see someone that gases me, I try to go out of my way to involve them somehow in what I'm doing or get involved in what they're doing.

One of the reasons I started Tzadik, which is my own label, is to keep things in print. I got tired of labels dropping things out of print when they don't sell.

The idealists will always be in society, and we will survive.

For about seven years. I really like it there. There are a lot of great musicians. The scene is very open. A lot of stuff going on. People's ears are really open, they are not closed. A lot of scenes here, people just get tunnel vision and are into one thing.

When I'm writing, sometimes it gets to that place where I feel like the piece is writing itself and I'm trying not to get in the way.

Eye was a great discovery. He is one of the great vocalists of all time.

I'm getting ready to write a piece now, and it's been six months thinking about it, changing the instrumentation, changing the name, doing more reading.

Well, in Japan, I have got a group of musicians that I have worked with a lot, that concentrate just on the hardcore stuff, say, that Naked City has been working on. We have like a repertoire of sixty songs now.

You know, when we were kids, we had to go to a theater to see a movie. And then television came in and you had to wait until midnight to see the one you wanted to see. Now, all you've got to do is go to a store and buy it and you can watch it whenever you want!

I have wit in my work and a sense of humor, but I do not use irony in any way.

I have about two or three people, we don't have an office, we don't even have a dedicated phone line. We do it out of our own homes, and we make it work.

It's a blast to watch. It's a lot more interesting live than it is on record. I mean, it really is a theatrical event. It's a sporting event! Cause you never know what's gonna happen.

That was my challenge as a composer. Like with anything, to keep yourself interested in doing what you do, you set yourself challenges. So I said, Okay, I'll try to write a hundred tunes in a year.

I put together the influences of my life in as clear a way as I possibly can, in the same way that Beethoven or Schoenberg or Bach put their influences together.

As soon as you get a certain amount of attention, then everybody kinda wants to start taking pot shots at you. All your old friends that supported you don't support you any more.

I see myself and many artists like me as the torchbearers through these dark ages.

I don't control it at all. It's all up to the musicians in the group. They control it. They make all the cues, and they tell me what they want, and then I act like a mirroring device so that everyone can see what the cues are.

That is a lot of the reason I do what I do, to really spread the word and spread information and turn people onto different things they may not be, y'know, aware of. That is what Naked City is certainly about.

You can't be idealistic in this world and not be crazy.

Classical stuff takes a lot of rehearsal time and preparation, but with stuff that involves improvisation, you can over-rehearse it and it gets stale. You don't want it to be too comfortable. In fact, a good sound check, a good rehearsal usually means a bad performance.

I don't ascribe to the idea of the ivory tower composer who sits alone in a room composing his masterpieces and then comes down from Mount Sinai with the tablets. It doesn't work like that. The job of a composer is putting something down on a piece of paper that will inspire the person who's playing.

I don't play favorites with people. My basic philosophy is that the only way to make the world a better place is by bringing something beautiful to every single person you run into at every moment of the day, so how can you play favorites with somebody?

I used to look at composing music as problem solving. But as I get older, it's not about problem solving anymore. There are no solutions, because there are no problems. You just turn the tap and it flows out.

I'm constantly tortured, and that's why I say happiness is irrelevant. Happiness is for children and yuppies.

If someone is a straight jazzhead, or a straight metalhead, or straight classical, they have a very narrow range of what they allow into their lives. But the people who listen to what we put out into the world have to be open-minded. Because we're so pluralist.

My solo music - I get up onstage, I improvise and it's my improvisation. When I get up onstage with Fred Frith and Mike Patton, then we're improvising together. Then it's not my music; it's our music.

No one sits in front of a drum set and thinks they invented it all out of whole cloth. The fact that the set is there means that you've got some dues to pay to Baby Dodds.

People sometimes have a very hard time accepting change.

What happens when you get to the age of 60 is that you have no more doubts. I know why I'm here on this planet. I know what I need to do. I know what is a distraction and what isn't.

That's Tommy, this great producer who comes in contact with people and must have a mental library of personnel who are great for this and great for that, and he brought this whole group of musicians to the project that I'd never worked with before.

Every musical movement that is big enough has to produce some good musicians who wouldn't have had the incentive to start playing without it.

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

The kind of music or the kind of arrangements that I do, the kind of musicians I choose, is just what I like to hear.

When we started making electronic music I imagined that the reaction we got from the rock musicians must have been similar to the one the beat groups got from people like my dad.

We were brash young fellows'. I was always hanging with the older crowd anyway. The musicians were the Hip Cats, and I was hanging with them anyway. I Just started out real early.

You can have all sorts of relationships, but there's something with musicians working together where you can have relationship that can just continue to grow in a beautiful way.

Most musicians count at the beginning, and never count and talk to their musicians after that. They only talk to them at the end of the song. But I would count with them and talk.

It's my fault in many cases because I don't initiate the contact to talk with a lot of other musicians.

Musician jokes are a kind of joke that usually have to do with how much money someone makes. Musicians are always starving, so they're really mean to each other about who makes what.

What 'jazz' means to me is the worst kind of working conditions, the worst in cultural prejudice. The term 'jazz' has come to mean the abuse and exploitation of black musicians.

We wanted to guide the musicians, so we could create our own sound. We would never let the band just go in and play the chord sheets. We were very focused on what we had in mind for these productions.

I don't take compliments very easily. I think most musicians suffer from low self-esteem to some extent.