It takes me a lot of time, and it's almost frustrating for the guys sometimes because they're waiting for a new song. And I - it's just so important for me to get the perfect, exact, right song.

I did everything I could to not bring in any of the - any of the technical things I got from classical into jazz. And I did everything to really base it on my speaking voice and to just not try to make it sound pretty.

I never wanted to sound clean and pretty. I always wanted to have kind of a certain natural quality to my voice, and I wish it were more rough than it is.

I remember as a child I just would copy everyone else's handwriting, and now I have sort of a version of my sister's handwriting. And I feel like - sometimes I feel that way for my voice.

I do love being onstage. And I've always loved playing a character and being watched doing that.

I just don't like to be in my own - I'm already myself, so I don't like to be in my own - like, watch myself.

I had a hole in my voice. It's an area in the voice where it's air. It's just - there's no - it's just very airy. And my classical teachers were just so frustrated with me because I would have these deep, low notes that were really strong, and the higher register was strong, but right in that middle area, it was really hard. It was like a passage. And many singers go through this and work it out. But I realized in jazz, I could just take advantage of that and take advantage of having a voice that was very different in different areas.