I've sung a lot of emotional songs, but when you're writing it's very difficult to decide what to reveal.

So much of what we do as artists is a combination of personal experience and imagination, and how that all creeps into your work is not so linear.

My dream as a child was to play with a bass player like Ray Brown, who played with the Oscar Peterson Trio. The feeling I had listening to his work was almost carnal, so to actually play for him was earth-shattering for me.

When you drive by Radio City and you see your name up there and it's only 'your' name. I just went 'ooh'. I thought this is really like looking at another person.

It is a privilege and an honor to perform on Steinway pianos.

You're creating an intimacy that everybody feels, that it's their experience, not yours. I'll never introduce a song and say, now this song is about 'my' broken heart.

I mean, I don't think I would call Claus to do an album of big band tunes. You know, just like arrangers write for the artist they have in mind; you have to keep in mind if you're going to work with Claus Ogerman. You invite him to do what he does.