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.

There's a lot of good people out here that want to help you grow and to help the music to continue to grow and evolve and go find those folks and be around them and carry it on... carrying the tradition on in the way with what it is that you have to offer. Find some good people in the music that will believe in you and they'll help you do that.

A tenor player named Bud Revels there at the time. A lot of really nice associations amongst the students. Garry Dial was a returning student. He actually got me on Red Rodney's band subbing a little bit. I gigged some with Red when I was 21 in 1988. So I had a lot of nice associations that came from [ Laguardia School of Arts]. But a lot of my education was going on in the clubs. Hearing music and sitting in.

[Manhattan School Of Music] were kind of just getting the jazz program up and going when I first started there. I was 17 in September of 1984 when I started there.

I did, I was in Europe a lot. I would say, mid 20s to late 30s. Less so in the last ten or twelve years. Based on some political stuff and other things, I think I'm not the only musician, the only American jazz musician that's not going to Europe quite as much. I think we're seen a little differently in the world, unfortunately, than we were pre-Iraq invasion and things like that.

You need to work as hard to be a great teammate as you do to be a great player

We had been thrown out of a couple of places that we had lived in when I was a kid and all the family photos and records and toys were long since gone. But I think somebody had given us a couple of records.