One of the greatest attributes of jazz, I think, is that it is that open.

I don't view myself as a musician anymore - I view myself as a human being that functions as a musician when I'm functioning as a musician, but that's not 24 hours a day. That's really opened me up to even more perspectives because now I look at music, not from the standpoint of being a musician, but from the standpoint of being a human being.

In World War II, jazz absolutely was the music of freedom, and then in the Cold War, behind the Iron Curtain, same thing. It was all underground, but they needed the food of freedom that jazz offered.

I've had a life that has taken many interesting paths. I've learned a lot from mentors who were instrumental in shaping me, and I want to share what I've learned.

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 Internet opens up a whole new range of possibilities in a wide range of areas.

I like to be on the edge, on the cutting edge, or be into the unknown, into the territory where I have to depend on being in the moment and depending on my instincts.