The first CD I had, that I think had had any redeeming qualities to it, I did when I was 25 with a relatively small label called Chiarascuro.

I was occasionally getting calls for some things. But I would say, 22 to 29 was a lot of scuffling. Hoping to get called for bad wedding gigs and I did do an off-Broadway show for about 15 months.

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.

Benny Carter came up to me and said to me, "You know, in the whole history of the alto, I think Phil is the guy we should all be emulating." The king! So look, I'm so blessed that my first hero took me in.

Alan [Ferber] is a great trombonist and composer. I'm thankful that I got some associations like that through peers and former students. That's kind of what it is.

There's a famous story about Dizzy [Gillespie] and Art Blakey taking him aside, and spending a whole night-long talk with [Phil Wood], "Man we believe in you. You can play. So don't be walking around with a frown on your face or whatever, getting yourself into trouble. You have got a gift, and nobody is going to take that away from you." So that meant the world to him.

Many of the people I'm gratified to see have gotten acclaim like Mark Turner or Bill Charlap. Ed Simon or Maria Schneider or Jim McNeely or Scott Robinson. Ken Peplowski, who is a friend and somebody I admire a lot.