I've always wanted to record a jazz record. I did one in the '70s with Barbara Carroll. It's been a journey.

I've got my whole life. There's a lifetime of experience, a lifetime of experiencing the road and the music and different players. It makes me a richer human being. I have a greater source of information to tap into, a wealth of life.

My grandmother passed at 104. She sang and wrote songs until she passed.

I wanted to make a jazz record. I didn't want it to be a standards record.

Jazz radio is not very friendly to pop singers who decide to make a jazz record. But a lot of people have been. A lot of the people I've talked to like the record.

The month of September is Women in Jazz, so I'm doing jazz there in September. I'm in for the duration.

If I'm driving to L.A. and have anxiety about making the drive, if I've got Peggy with me, we're cool.

I choose things by how they resonate in my heart.

I'm not stopping. My dream has come true, and I'm staying.

There was a subtlety about Peggy Lee. It was powerful. There was a valuable use of space. Everything was not cluttered. Her voice was out front and was the key instrument.

I recorded my first jazz record in the '70s.

When I sang that song, I felt it was almost as if some force had moved into my body. Things like that have only happened to me singing jazz. It doesn't happen when singing pop. I get so deeply into the music, it feels like I've become someone else.

I think you have to have a jazz pedigree to be on jazz radio.

I say what's in my heart, and I do it in my concerts.

It seems that jazz is more cerebral and more mathematical in a sense.

Too often, the opportunity knocks, but by the time you push back the chain, push back the bolt, unhook the two locks and shut off the burglar alarm, it's too late.

I was kind of known as a ballad singer. People would send ballads. Some of them would go over my shoulder and float off the top of my head, and I just didn't feel anything. Then I would hear a song that would absolutely shake me.

I've always wanted to record a jazz record. I did one in the '70s with Barbara Carroll. It's been a journey.

I don't think I was considered to be a cabaret singer because I didn't have patter that was written.

You know, I'm pretty much an open book.

I think the challenges for me was to go into the studio with these incredible jazz players and come up to their level of excellence. That's always a challenge.

Possibly, I should have been a jazz singer from the beginning.

I've always loved jazz.

Universal was absolutely marvelous about sitting down with me and listening to my input. It wasn't something where they chose a bunch of songs that were best sellers. They did a marvelous job on the packaging. It's a beautiful tribute.

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.