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.

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.

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.

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.

[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.

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.

If you look at the other singers of Billie Holiday's time, they were really trying to entertain. They were trying to make people feel good. They were singing fast - and she was singing the blues.