I got to perform the [Jaques] Ibert Concertino Da Camera with a brilliant pianist at school named Chunga. I got to perform the [Alexander] Glazunov Concerto in senior year with our school orchestra and the Jewish Grossman orchestra. I won a scholarship from the Goldman band to perform the [Paul] Creston Concerto. Which I never played with them, but they still gave me the money.

The Monk competition did open some doors. And I was thankful for that.

We spent all day together [with Phil Wood] at that one particular lesson, which was maybe the third or fourth lesson, in from 11:00 in the morning to 11:00 at night. We often did a lot of varied things. It wasn't just about jazz language and the saxophone.

[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.

The goal in life is to live young, have fun, and arrive at your final destination as late as possible, with a smile on your face.

Sometimes I say to my students, "We get to come and listen to our favorite recordings and try to learn from them and emulate that and hopefully we can inspire other people the way we've been inspired."

We had Bob's [Gordon] records, and he's on Clifford Brown's first record as a leader. I believe it was Clifford Brown's first record as a leader and had the original versions of Daahoud and Joy Spring that were arranged by Bob's best friend, the West Coast tenor player named Jack Montrose, who I later met.