My work has been marginalized as far as the jazz-business complex is concerned, or the contemporary-music complex.

Growing up in the '50s and being in the '60s, in that revolutionary time space, I thought freedom was what I was looking for. Slowly but surely, it became clear that the last thing I was interested in was freedom. Because if you're going to be free, you have to be free from something.

I have learned through time that not everyone is interested in the kinds of things that fascinate me.

I'm a post-Abner Jay kind of guy mixed with Roger Corman and Frankie Lymon and the Teenagers.

I am viewed as the Negro who has gone outside of the categories assigned to me.

For the most basic assumption that dictated my early attempts to respond to creative music commentary was the mistaken belief that western journalists had some fundamental understanding of black creativity—or even western creativity—but this assumption was seriously in error.

I am interested in the study of music and the discipline of music and the experience of music and music as a esoteric mechanism to continue my real intentions.