I think I represent a more left-wing view of what jazz is.

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

I think I have a basic sound aesthetic that is in most of what I do.

The beauty of jazz is that it's malleable. People are addressing it to suit their own personalities.

My older brother Mike is an excellent trumpet player. By the time he was 12, he was playing around Kansas City in classical situations. He was already an amazing talent.

I think I represent a more left-wing view of what jazz is.

The first thing I learned was the theme from Peter Gunn.

Whatever my recorded output is, it's a reflection of a general love of music.

It's more about conception and touch and spirit and soul than whether my hardware was in place.

Jazz is not something that can be defined through blunt instruments. It is much more poetic than that.

I saw A Hard Day's Night 12 or 13 times.

I don't know if I would qualify as mainstream. I think I have managed to function pretty successfully on the fringes of the music world and have been able to play exactly what I have wanted the way I have wanted.

I hate the way chorus boxes sound.

I was able to work with the best musicians in Kansas City starting when I was really young.

Listening is the key to everything good in music.

I don't worry too much about the fundamentalist principles that are in almost any discussion about jazz.

From 1962 to 1965, the guitar became this icon of youth culture, thanks mostly to the Beatles.

I realized that equipment really had little to do with why I sound like the way I sound.

I was deep in the zone of practicing almost constantly.

For me, let's keep jazz as folk music. Let's not make jazz classical music. Let's keep it as street music, as people's everyday-life music. Let's see jazz musicians continue to use the materials, the tools, the spirit of the actual time that they're living in, as what they build their lives as musicians around.

I'm always inspired when there's a robustness to the material in front of me.

I'm always trying to find 'connections' between things. That art is the juxtaposition of a lot of things that seem unrelated but add up to something recognizable.

If you come to my house, you won't see a wall of trophies or things like that. I'm sort of 'on to the next thing' all the time.

The guitar for me is a translation device. It's not a goal. And in some ways, jazz isn't a destination for me. For me, jazz is a vehicle that takes you to the true destination - a musical one that describes all kinds of stuff about the human condition and the way music works.

There are musicians who go through their lives sort of shedding their skins. For me, I've always felt backward-compatible to Version 1.0.

What I look for in musicians is a sense of infinity.

When talking about writing, I often use the analogy of archaeology. There are these great tunes all around. Your skill as a musician allows you to pick them out without breaking them.

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.