When I started doing improvise music in Europe, in the beginning I thought the way that Europeans were interpreting the reconstruction of deconstruction of this thing that we call jazz - of course it's different than what Americans do, because Europeans have a different history, a different sensibility and so forth - the nature of the creative process itself it's the same; but what comes from that creative process is different, because you have a different history, you have a different society, different language.

The place that I found where European musicians and American musicians come together is that odd middle world which is called uncertainty.

When I play with people, one of the first rules is to listen. Just by the near fact that you listen and you're open to listening, or you're listening and you're open to what this other person is doing. Also you going to be open to what you're doing and you're not going to have it like 'planned out'.

I grew up in the funk, rock and roll, blues and r&b tradition, and I came to this thing we call jazz later. And I came to improvise music from the standpoint of jazz; I was improvising, but within these other genres of music.

If you're truly playing improvised music, I don't care who you are or where you come from, you don't know what's going to happen. I feel essentially we really don't know anything anyway, most of the times we're just guessing.

Femininity doesn't always relate to being a woman and masculinity doesn't always relate to being a man; it's a quality of being-ness. Women have to portray the quality of masculinity; society wants it to be like a man; not necessarily male, but like a man. If that makes sense...In nature itself, there's yin and yang, there's masculine and feminine.

The planet belongs to all being; all beings are responsible. We all have to do whatever we can do no matter how small it is; nothing is too small.