You're writing for some version of yourself. You're writing the kinds of things that you like to read or wanted to read at a certain point. So, primarily for most of my career, I've written the kind of criticism that fascinates me. The things I discovered the things that get me going, that I'm excited about.

You've got to have a gimmick if your band sucks.

If I'm reviewing a record, man, I play that record to death, which is ironic in a way because if I review a concert I feel very confident in myself, certainly at this point, and have for most of my career. You're only hearing it once and then you go to your typewriter and you write the review.

There are reviews that are clearly wrong. Dr. Johnson's famous Life of Savage, he's clearly wrong about the value of Savage. But it's one of the great works in English literature. You can learn more about the artistic expression and what the poet does and how to write about art from that than any number of guys who are terrible writers, who have no original ideas, but who say yes, "Hamlet" is a wonderful play. It's a meaningless statement.

I'm a critic. That means you are a writer. So, yes, you have to make yourself an authority on whatever subject it's going to be. Music, movies, literature, whatever it's going to be, but what you really want to do is learn your trade by reading other writers. I think you have to read veraciously, especially people who have done what you have done to see how it's been done in the past; what works, what doesn't work.

I think all of us begin as writers. I wanted to be a writer from the time I as eight, long before I heard of jazz. The question is, once you have that obsession, what is your subject going to be and you often don't know for some time. It might become fiction, it might be non-fiction, and if it's non-fiction it can go in any number of directions.

People should not feel intimidated by received wisdom. You have to discover it yourself. If I tell you that Armstrong is great, it's meaningless; you have to hear it.