When I sort of step in my jazz world, it's somewhere between instrumental jazz and vocal jazz.

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 go by the "Miles Davis school of production and band-leading", where you pick the best musicians you can, you provide them with a minimum of direction, and you just let the music happen. I've seen it work time and time again.

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.

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.

I don't get writer's block. I don't try to write anything; when something comes, I write it. I just practice and when I get an idea I write it down.

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.