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.

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

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

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.

So, yes, I am in the underground, but actually, it feels like home.

I thank the Creator of the universe to have discovered the discipline of music was the greatest gift that I could have been given, the possibility to be a student working in the world.

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.