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 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.

I really like the complexity of jazz, the emotional depth; I feel like there's no other music that's really as satisfying as jazz.

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 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 really pulled from that repertoire that Billie Holiday was singing, and the way she sang it. It's sort of this beautiful, not really midpoint, but a period of her career where she really still had her voice. She had that deep wisdom that we've come to associate her with. To me, that's her at the height of her powers.

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.