For better or for worse, I think my approach to jazz is very traditional, in one sense, but is [also] very out of fashion today. It's about the musicians, and it's about that magic that happens in the moment.

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.

I've sort of realized there's a definite pattern to my output at this point: there's an album that everybody sort of loves, that's a real balance between the old and new, like The Dreamer or No Beginning No End, like a blend of jazz and hip-hop, or r&b and soul and hip-hop.

I'm pretty much always planning two albums ahead.

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.

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

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.