That's the thing that we said about the horn before: it's a focus issue. It's like a singer versus a drummer. If a drummer's playing a drum beat, and a singer starts singing, what do you think the audience is going to do?

So it's really hard for a horn player to comp. But I'm totally into trying to switch those paradigms around and find a little magic space where that works, and try to mine that.

That's the exact concept behind the music: to take that kind of, I guess whatever you want to call it, jazz sensibility - but not have it be about solos.

But I've come to the point in my evolution on the instrument where I realize that I can't play the same stuff that just a guitar player or organ player would play - and I need to embrace that in a big way.

Yeah, it's more like playing what you think is appropriate for the moment, not forcing any particular style.

I never do anything to strictly satisfy a fickle, ever-changing commercial world. I do the music I like to play. It's the only way I feel comfortable existing in the industry.

The trio is the biggest sound you can have with the smallest unit.