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.

When [Charlie Parker] saw the young guys, especially the ones that were scuffling... "Did you eat today?" And if you hadn't eaten, he'd take you and buy you some lunch.

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."

I feel very similarly. I didn't have necessarily the same exact kind of dynamic, but that means a lot when people are like that with you. Especially people like that. And I think [Phil Wood] felt a certain responsibility .

Sometimes you think "Okay, well I'm going to play my horn, and I'm going to study Charlie "Bird" Parker solos or [John Coltrain] or whatever." But as [Phil Wood] said to me, "Man, Bird listened to everything."

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.

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