I had a really nice association with Richie DeRosa, a great musician, a great drummer and composer and arranger. And I had a number of classes with him.

Particularly, in my situation, I needed a way out of where I was. So music was that.

[Manhattan School Of Music] were kind of just getting the jazz program up and going when I first started there. I was 17 in September of 1984 when I started there.

I got to talk to people like Mel [Lewis] and Milt Hilton and Benny Carter and Clark Terry and... Jay McShann. I just found myself in some circumstances, on some gigs or sometimes in clubs, with the ability to talk to some of these people. Just being around their energy and being around that history was invaluable. And what I normally say to young people that are getting into the music, if you can and go... now there's less of those folks around, sadly.

The light went on when I heard Phil [woods] play, and I went like, "That is why I'm playing the instrument." So I got very inspired, I started going to clubs through a friend's mom in the city, again, another person who just completely opened all these doors for me and it was amazing how kind she was.

When I got to Performing Arts, within the first week, a few days, Bill Charlap walked in and couldn't read music but he's playing all these solos from Keith Emerson of ELP, and Rick Wakeman from Yes. Real impressive rock piano and keyboard things. And we had really, truly amazing young 13-14 year old classical players in our year who had been practicing six, eight hours a day for eight years. So it was like "Whoa."

A tenor player named Bud Revels there at the time. A lot of really nice associations amongst the students. Garry Dial was a returning student. He actually got me on Red Rodney's band subbing a little bit. I gigged some with Red when I was 21 in 1988. So I had a lot of nice associations that came from [ Laguardia School of Arts]. But a lot of my education was going on in the clubs. Hearing music and sitting in.