The value of music is to be able to play one note at the right time in the right way.

I spent five years, at least, working with Miles. Together, we recorded ESP, Nefertiti, Sorcerer -- and I can tell you; each of these albums instantly became jazz classics. Hey, we had Wayne Shorter playing tenor sax, Ron [Carter] on bass, Tony Williams played drums. That was great band we had.

The music becomes something that is its own entity.

I try stuff. I synthesize what's of value with some of the other things I have at my disposal.

I'm very conscious of the idea of trying to each time present something that I haven't presented before. It's a challenge to me to find something new, to find something innovative, but it's also very exciting.

I don't mind being classified as a jazz artist, but I do mind being restricted to being a jazz artist. My foundation has been in jazz, though I didn't really start out that way. I started in classical music, but my formative years were in jazz, and it makes a great foundation.

I've been curious ever since I was a little kid.