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

I wasn't listening to that much classical music - not much more than anything else. I was really lucky to have parents who loved all kinds of music.

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 in school - in elementary school - I used to recite poems. We'd have to recite poems. And I would always just, like, roll on the floor, like, just make it such a huge, melodramatic portrayal of whatever it was.

The more I listened and became obsessed with singers, I feel like the more I realized that I had my own little thing that I could do.

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.