I think my first impression (of Bix Beiderbecke) was the lasting one. I remember very clearly thinking, 'Where, what planet, did this guy come from? Is he from outer space?' I'd never heard anything like the way he played-not in Chicago, no place. The tone-he had this wonderful, ringing cornet tone. He could have played in a symphony orchestra with that tone. But also the intervals he played, the figures-whatever the hell he did. There was a refinement about his playing. You know, in those days I played a little trumpet, and I could play all the solos from his records, by heart.

One way or the other, if you want to find reasons why you shouldn’t keep on, you’ll find ‘em. The obstacles are all there; there are a million of ‘em.

If you want to do something, you do it anyway, and handle the obstacles as they come.

I remember Glenn Miller coming to me once, before he had his own band, saying, How do you do it? How do you get started? It's so difficult. I told him, I don't know but whatever you do don't stop. Just keep on going.

If a guy's got it, let him give it. I'm selling music, not prejudice.

Too many young musicians today want to win polls before they learn their instruments.

Sometimes when you start losing detail, whether it's in music or in life, something as small as failing to be polite, you start to lose substance.