You hear about the struggles with substances and all that, but [Phil Wood] was a really a great guy. This was a great man.

Everybody wants the quick fix, but it doesn't happen overnight. You have to be willing to put it out there. I call it 'the secret to being an overnight success,' which means there really isn't a such thing as an overnight success. ! The secret is you work really hard for 10 years, and then you become an overnight success.

I did do an off-Broadway show for about 15 months. '91 and '92. It was nice to have a steady paycheck for a while. It was Oliver Jackson and Earl May, Art Barron and myself were the house band. I was 24 and 25 at the time.

I had made a couple of records in Europe. One as a leader, and one as a sideman before that. It was what it was. I started to work with Maria Schneider around that period and some other people, I started to get called to sub at the Vanguard in my mid-20s.

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."

There are great jazz educators that I meet all the time. I met a guy named Paul Luchessi who has a high school jazz program in Fresno. And Bob Athayde who runs a junior high program in Lafayette, California. And man, we walked into these schools and Paul Luchessi said, "Jon is the composer of Paradox." A hundred or something kids started to applaud. "What? You guys know that? I'm so blown away.

I didn't have time to deal with practicing in a way that I would have liked to. I wish I could have just said, "I've got four to five hours every day that I'm going to go deal with music." I just didn't' have that. I missed a lot of lessons, but I think that maybe was frustrating to me in a big picture sense of, I need the time and energy to put into my instrument.