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.

I don't hold it against Dizzy [Gillespie], you know, but if a guy wants to play a certain way, you work towards that. If he stops - he's full of crap, you know. I mean, I wouldn't do it, for no money, or for no place in the white man's world. Not just to make money, because then you don't have anything. You don't have as much money as whoever you're trying to ape; that's making money by being commercial. Then you don't have anything to give the world; so you're not important. You might as well be dead.

I really liked Wynton when I first met him. He's still a nice young man, only confused.

It's like, how did Columbus discover America when the Indians were already here? What kind of s-- is that, but white people's s--?

It's a different ballgame now, so that lets [teo] Macero out. He's always complainin', always sick.

I was minding my own business when something says to me, "you ought to blow trumpet." I have just been trying ever since.

I usually write from the rhythm section...If a drummer got a funky beat on some things - like a half-shuffle or a shuffle or a backbeat that's even - I can write something.