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 know I’m an African-American, and I know I play the saxophone, but I’m not a jazz musician. I’m not a classical musician, either. My music is like my life: It’s in between these areas.

I'm seeking to have an art that is engaged as a way for saying, 'Hurray for unity.

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.

Evolution is the phenomenon of change and the challenge of the next time cycle will involve the creation of constructs that will provide the kind of dynamic knowledge base that can assist the challenges of tomorrow (involving both fundamental and extended information).

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

I had never thought that I would be involved in narrative structures. As a young guy, I was more interested in abstract modeling. But as I got older, I began to see that there was no reason to limit myself to any intellectual or conceptual postulate, when in fact I'm a professional student of music.