I like to interpret 'Call me a River', as if I'm saying, 'Now you're telling me you love me after all that, and I'm telling you to shove off.' That's my interpretation. But I would never 'say' that because somebody else might interpret the song in another way.

There were some things that I found I really enjoyed singing about; like, on the title track, there's this film-noir character of a woman who's sort of losing it in a room.

I like to interpret 'Call me a River', as if I'm saying, 'Now you're telling me you love me after all that, and I'm telling you to shove off.' That's my interpretation. But I would never 'say' that because somebody else might interpret the song in another way.

I think that I was being much more uptight about those things before. I feel like I really don't have to prove anything at this point other than what I'm doing.

Love songs last because they are about feelings that don't change.

Sometimes I can't get out of the character because the story is very intense.

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.