All my stuff is pretty seamless - like now, while I'm touring [Yesterday I Sang The Blues], today I'm going to go in the studio, I'm writing my next one. For me it's continual.

The other songs [of Billie Holiday] - "Body and Soul" is like the standard - I also wanted some songs that I knew I would sound good on, as a producer. It's been the same nine songs since I debuted it back in 2012.

There's a more experimental album that follows that, which is like Black Magic and While You Were Sleeping. Then there's a return to jazz, For All We Know and Yesterday I Sang The Blues. It wasn't like a planned thing, I just kind of realized it when I made a list of my albums. Like, oh wow, this is exactly what I did before.

When I start working on a new album, I kind of stop listening to a lot of outside stuff just so I can kind of focus.

I'm listening to a lot of Drake, and a lot of Frank Sinatra just because it's his centennial also. I'm going to be doing some tributes to him this year. I love that Beck album. It was funny to me because my two favorite albums of the year were definitely the Beyonce album and the Beck album.

I feel like, in many ways, Billie Holiday's still very under-appreciated as an artist. People focus on her voice, and all of the very recognizable vocal things that she does, which are great. But I wanted to, with this project, start the conversation again about her as a radical feminist, as a civil rights activist - taking a stance. And also just [her] being a non-conformist.

I love that [ late-50s Verve recordings] - to me, that's the epitome of vocal jazz. It's my favorite style and era of it.