Sometimes [playing free] doesn't happen, because maybe a guy's wife'll come in, you know, and his ego will catch him. If everybody's completely just straight-without any old ladies over here, a fourth of whisky over there; if it's balanced right, it'll come off. It has to be. But when you get egos involved with playing free, you can't do it.

I would never try and play like Harry James, because I don't like his tone - for me. It's just white. You know what I mean? He has what we black trumpet players call a white sound. But it's for white music ... I can tell a white trumpet player, just listening to a record. There'll be something he'll do that'll let me know that he's white.

I don't pay no attention to what critics say about me, the good or the bad. The toughest critic I got is myself...and I'm too vain to play anything I think is bad.

See, if you put a musician in a place where he has to do something different from what he does all the time, then he can do that - but he's got to think differently in order to do it. He's got to play above what he knows - far above it. 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.

It's not the note you play that's the wrong note - it's the note you play afterwards that makes it right or wrong.

I think every Negro over fifty should get a medal for putting up with all that crap.

Don't worry about playing a lot of notes. Just find one pretty one.