I'll just sit at the piano a lot an play like through different chord exercises and kind of just throwing my hands down on the piano from one chord to the next to see what happens.

When I make records, I never listen to stuff after it's done. Ever.

In most of the stuff that I've done over the years as a sideman, I wasn't really a session musician, because to me, a session musician is a guy who makes his living in the studio, and I never really did that.

When you have an acoustic bass in the ensemble it really changes the dynamic of the record because it kind of forces everybody to play with a greater degree of sensitivity and nuance because it just has a different kind of tone and spectrum than the electric bass.

Ninety-nine percent of the music that was of any interest to me when I was growing up came out of the black community.

I tend to play in a way that feels natural to me. To me that's authentic for myself. I play by where I'm led by some sense of where I feel I'm supposed to be.

I look at the artistic process as like experiencing the world, channeling it through your personality and sending it back out there. That's the process.