I've never used the word jamming. It's a matter of finding a great song and learning the chords, then slightly altering the vocal melody, and matching a classic chord progression with another chord progression.

From a very early age, I started to get really interested in how songs were put to tape. Not just listening to the songs, but the way the songs were recorded.

It's a luxury to not have to just be performing with other people to have my music heard.

I've worked with just as many talented women as I have talented men, and I feel fortunate enough to have that great balance.

I remember when I was 5 or 6 years old, gospel music felt familiar, like I had heard it in the womb or something. A lot of those old gospel songs still give me that feeling, that it's older than time and there's actually music that can tap into a universal subconscious, or whatever word you want to put on it.

When you work on a record for three years, it's a great sense of relief when it is finally out in the world. It just feels good.

My philosophy for producing a record is for everyone involved, including myself, to get out of the way of the song, and at the same time, listen to it as closely as you can, and listen to where the song wants to go.