I did Bronislaw Kaper's tune. He wrote "On Green Dolphin Street." I mean, I did all those ballads, all them ballads from South America. All those tunes - the guitar concerto on Sketches Of Spain. All those are Spanish melodies. Some of them we made up ourselves.

He sounded to me like he's supposed to be the savior of jazz. Sometimes people speak as though someone asked them a question. Well, no one asked him a question.

I've always told the musicians in my band to play what they know and then play above that. Because then anything can happen, and that's where great art and music happens.

Tom Jones is funny to me, man. I mean, he really tries to ape Ray Charles and Sammy Davis, you know. He's nice-looking; he looks good doing it. I mean, if I was him, I'd do the same thing. If I was only thinking about making money.

That was my gift . . . having the ability to put certain guys together that would create a chemistry and then letting them go; letting them play what they knew, and above it.

You can tell whether a person plays well or not by the way he carries the instrument, whether it means something to him or not.

I gave the album [You're Under Arrest] to Quincy Jones and he loved "D Train". We couldn't call it "D Train"; it's called "MDI/Something's On Your Mind/MD2". That's on the album.