Jason [Moran] and John [Patitucci] and Eric [Harland] knew it was a Billie Holiday tribute. I'm sure they assumed it was going to be like another singer date, where we just have a bunch of charts and they write them down and they got paid and kind of moved on. There's nothing wrong with that, but it's not what I intended.

Once I had the band, Jason [Moran] and John [Patitucci] and Eric [Harland] - it's very exciting to have that trio of just world-class guys - I already knew it was going to be fantastic. I didn't really tell them anything about it. They didn't know what they were going to play beforehand.

[Billie Holiday] was keeping it super real, and you can feel that to this day. Everything that she sang, she believed in. So I had to pick songs that I felt the same about.

I'm pretty much always planning two albums ahead.

For me, the difference between a musician reading an arrangement on a piece of paper, and them closing their eyes and listening to what's happening around them and responding to it, is huge.

There used to be a club in new york called Bradley's - I've never been there, it closed in the 80's - but I used to study with Junior Mance, and he would tell me about Bradley's. It was a very important place for a generation of jazz musicians in New York. It was really all about pianists there.

The level of musicianship in New York is the highest in the world. It's tough to get into. You start gigging making 50 dollars a night, or playing for nothing to get to something. It's insane. It's like being a modern dancer, or something - the hardest thing to make money from.