Like Ron Lorman's always sayin', "Na-na-na-na-na," you know what I mean? I don't need that in the studio.

I put all those synthesizer sounds behind "Decoy" and "Code M.D." A lot of things we write together. A lot of things are his, but they don't have that thing I want on the bottom. I often tell him, I say, "Bobby [Irving], if there's a melody, there's another one somewhere that goes with it."

If you got up on the bandstand at Minton's and couldn't play, you were not only going to be embarrassed by the people ignoring you or booing you, you might get your ass kicked.

I couldn't do "What's Love Got To Do With It", Tina Turner because it wasn't the right tempo; so I scratched it from the record. I wanted to do it about a year ago, but something happened.

That's the way women do. The frown. They want to give you the attitude to approach them back, by giving you a negative vibe.

I can hear what I want [people] to play. If you don't hear what you want someone to play, then you can't tell 'em.

You should never be comfortable, man. Being comfortable fouled up a lot of musicians.