I was commuting three to four hours a day, I had jobs for much of it. But I was always involved in going to some ensemble someplace. Taking my lessons at the local Jewish community center on Staten Island.

I love to see people recognized [me on scene].

[Phil wood] put on some [Igor] Stravinsky and say to follow the score, tell me to play me the opening to the Rite of Spring. Or, "I'm going to play you some 20th century obscure classical composer you don't know". Or, "Let's listen to some Charles Ives, let's sight read some Bartok violin duets", etc.

The best legacy you could leave is not some building that is names after you or a piece of jewelry but rather a world that has been impacted and touched by your presence, your joy, and your positive actions.

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.

I went in [Sweet Basil band] and played with them, maybe half the gig for almost eight years or more.

If you want to make [your own way in music] it as a player, which is very difficult, as Art Blakey said to me, "We're blessed to have the opportunity to do this." So just keep that in mind.