Chico Hamilton told me, "The first take is important in jazz because that's where the real emotion is." That's your true response to what's happening, and everything else after that, your brain is involved because you have something to reference.

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.

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.

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.

I also tried to focus on songs that Billie Holiday wrote, songs that she had a hand in shaping, like "Strange Fruit"; songs that were written for her or songs that she wrote herself, like "Fine and Mellow" or "God Bless The Child."

I'm working with a producer, Scott Jacoby, who co-wrote "Trouble" off No Beginning No End. Without giving away too much, it's a definite pop/r&b vibe, pretty strong melodies, and definitely about songs.

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.