A lot of musicians have said things to me like, "Music saved my life". And "I'm standing on the shoulders of dozens of people that you've never heard of that were like angels for me that came out of the woodwork." And that's really the case for me. I had so many people that did those kinds of things for me.

[Charlie Parker] was kind of a sponge and intrigued by it all.That's similar to what Phil [Woods] told me about Bird, too. Like he was into cooking. He was just into a lot of things. Yeah, it's about dealing with bebop and jazz and Trane [John Coltrain] and post-Trane and knowing the history. But you've got to live. You have to experience things. Know something in this world. So it was a very deep education about what it means to try and be an artist.

There is a very small chance that you might be really brilliant and really talented.

When you fuel up with purpose you find the excitement in the mundane, the passion in the everyday, the extraordinary in the ordinary.

You do [jazz] because you love it and hope many some others may as well. You do this because you need it.

I took some comp for non-comp major classes with Giacomo Bracali and Ludmila Ulela, who was a really famous composition teacher.

I was finishing up at High School of Performing Arts and finally, by the end of junior year and start of senior year, made some progress as a 16 year-old classical saxophone player. But not really... not like how the legit cats do. But I love the [Jacques] Ibert, love [Alexander] Glazunov, love the [Paul] Creston.