I can tell. I'm gifted with that, you know. When I hear that the tempo is slightly off, it's hard for me.

When we edit the music, I always remember, "It's my band. Save me a place to play."

[Jazz musicians] feel comfortable with their clichés, you know.

The melody is French. But that's the end of the record. I named it "Jean Pierre Then There Were None," you know, because of the big explosion. You'll like it. It's a nice album.

A painting is music you can see and music is a painting you can hear.

When you work with great musicians, they are always a part of you . . . their spirits are walking around in me, so they're still here and passing it on to others.

Maybe you play a melody twice. You play it once like you like it, and some parts that you don't like you can just switch. An eight-bar motive - you can just take it and put it in the front or back or something like that. It can save you 50 or 60 or 70,000 dollars, a drum machine. That's why everybody uses it.