'Jazz Artist of the Century' would have to be a distinctive soloist and ensemble player, a composer, an arranger, a bandleader, and a driver; would have to span all the genres and periods of jazz; would have to have run her own label; [would] possess a deep spirituality, with grace and a sense of humor; and would have to have succeeded against all odds. Who else? Mary Lou Williams.

If I worried about that, I wouldn't have made a single record in my whole career. I think more and more, audiences appreciate something that is distinctive and different. Everyone always throws out this figure, 'Jazz is now down to three percent of the total record sales.' So does that mean it is not important? I think if we agree that human culture itself is important, then I think those three percent take on a greater significance.

'Jazz Artist of the Century' would have to be a distinctive soloist and ensemble player, a composer, an arranger, a bandleader, and a driver; would have to span all the genres and periods of jazz; would have to have run her own label; [would] possess a deep spirituality, with grace and a sense of humor; and would have to have succeeded against all odds. Who else? Mary Lou Williams.

Black has always been a staple for me, but that's not really a good favorite color. I've been really into browns lately.

I'm a jazz musician by education and vocation, but I don't think jazz should [ dictate] what I want to do.

I don't really think of these as projects. I think of them as bands. I have tried to not just convene a group of musicians and make one record or make one gig and just drop it. Each of them develop over time. I have been really fortunate to keep a band like the Sextet together over three very different albums. Each time, the goal got more deep for me in terms of how I wanted to write for those people. So it is really about trying to develop ideas and trying to have a consistent focus on a way to come up with new ideas in music that I want to do.

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