He [Earl Scruggs] was really cool because he was very quiet, and he wouldn't say much, but then he would come out with a quip that was like so perfect and so brilliant, very smart.

Earl Scruggs had this thing that it wasn't just the technique or even the instrument. It was him. There was this soulful quality that came through that made you - if you're somebody like me who was, I guess, supposed to play the banjo, it made you stop in your tracks, and you couldn't do anything until you got done hearing him play, and then immediately you'd have to go try and find a banjo.

You can’t encore the past. If I see a bright light shining out there, I want to go toward it.

If you don't let things develop, it's like keeping something in a bag and not letting it out to fly

Earl Scruggs is the guy who really made that leap with using three fingers in a rotating fashion to create this fast rippling sound that had never been heard before.

I think Earl Scruggs playing propelled bluegrass and Bill Monroe's music to the level that - where we're all still talking about it.

I don't like to travel as much as I have in the past, but it's good for my soul to get to pick, especially with these good musicians and these guys that play so well.