I also met Charles McPherson around that time, end of high school. I was 17 and I had followed Phil around for a year and pestered him enough to finally give me saxophone lessons. So all of a sudden I've got Phil Woods and Charles McPherson around 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.

So often the difference between success and failure is belief. Belief leads to action and execution.

Larry [ Laurenzano] said to me one day near the end of junior high, "Jon, are you Jewish?" I said, "No." And he said, "Well neither am I. I'm not sure of Caesar DiMauro, but he teaches at the JCC and I got you a scholarship there."

I had played some festivals with people and met and been around some good people, for sure. But what I say to my friends and students, anything like that with a grant or a competition, it involves a great deal of luck.

[Phil Wood] was a great artist, and he knew things. He could be mildly conversant in several languages.

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.