I don't go and study other folks. I come from where I came from, as a kid, in the little black church I grew up in. And some of the things they did I rejected, because I could see that it was a manipulation and an exaggeration. My struggle is never to fool folks; to keep it authentic - who we are and who we are becoming - rather than to mimic or to translate what others do into my own terms.

Any racism or barriers that may be put up, you get a tremendous sense of resistance. The more you push me, the greater I am. You can't hold me down. And the church helped me do that. My family helped that. The whole issue of struggle is critical in my life. Resistance, finding ways to resist. That does not mean you do somebody in to get it. No, it means finding ways to be human in what you do, but making sure that you get it done.

I'm a folk preacher. A folk therapist. A folk musician. I come from authentically that which is of my experience. Therefore, the music is strictly from the soul, strictly improvisational.

If you got the truth, you put it out there, and everybody says, "Oh, my God. That's me." And then they improvise also. They take off, as well.

When people get up on the stage and say, "I've got AIDS," or "I'm in recovery," gosh, it's hard for them. It's like that story touches every person's story. You know, they open their entire humanity up. Storytelling is very important in life. Telling the truth is critical. It's like, again, the melody. The melody of jazz music is the truth, for me.

I have excessive energy, tremendous energy. I have a sense of people. I can feel them, pretty much so, in a short time. I'm not afraid of death. I'm just not afraid of anything.

I need to be in touch with the people. You've got to look in their eyes, and you've got to feel what they feel. You've got to engage people. All that we do and believe in is engaging people to touch, to heal, to look at each other's eyes, to feel with each other, to cry with each other, to moan, to groan, to rejoice, to be happy.