I wasn't allowed to play in some universities in the United States and out of twenty-five concerts, twenty-three were canceled unless I would substitute my black bass player for my old white bass player, which I wouldn't do.

There's a way of playing safe, there's a way of using tricks and there's the way I like to play which is dangerously where you're going to take a chance on making mistakes in order to create something you haven't created before.

I used to take my mother to Yosemite. When I turned 14, I got my driver's license, and that's where she'd want to go, so I'd go take her there for two weeks.

And there is a time where you can be beyond yourself. You can be better than your technique. You can be better than most of your usual ideas. And this is a whole other category that you can get into.

After the Second World War, I returned to California to study composition with Darius Milhaud, who wrote wonderful works like 'Le Boeuf sur le Toit' and 'La Cretion du Monde.' I especially enjoy his work for two pianos, 'Scaramouche.

Over the years I've had strong friendships with many priests. As a matter of fact, a group of Christian leaders from the National Council of Churches came to my house in the 1950s to ask me to write music for a Mass. I didn't think I was ready at that time. So, in a sense, I guess joining the church and writing the Mass was a culmination of a long journey that is still going on.

Probably the most profound thing in the Bible is 'Love your enemies, do good to those who hate you.' This is what, to me, is the essence of Christianity.