The first notes I still play when I start a sound check are classical. Those are my roots.

My favorite literature to read is fairly dry history. I like the framework, and my imagination can do the rest.

There's been this perception that Europeans still hold on to, that they discover the real talented ones in American culture and give them proper credit and that's not true anymore - it used to be. A lot of jazz musicians would get respect in Europe.

I don't write poetry and then strum some chords and then fit the words on top of the chords.

If you take a little time, let's say three weeks off, after recording a song, and you listen to it every other day, you're just going to know eventually.

The melodies come out so strong that I'm like, "Oh, crap." It's really better if they could both be kind of able to compromise, but the melodies, even more recently, they come out very fully cast and formed.

In New York, I'm playing in a church, solo, doing instrumental stuff. There's talk of doing more, like, installation-type things with some of the specimen horns I've played through. Just filling a room in a museum with these horn-speaker sculptures and then making loops that run all day, and you walk around the room and sort of mix the sound by where you stand. That's all way in the future, but that kind of stuff is a different way of thinking about performing.