I don't care what anyone does, as long as they go through the copyright office.

I didn't feel anything [frustraiting]. I just kept working 110 or 120 nights a year.

I went through the whole number, you know. The swing era, the boogie woogie era, the bebop era. Thelonious Monk is still one of my favorites. So a lot of these people had their effect on me.

It was the British rockers that saved me. They brought me to a different generation altogether [in the 60th]. The Who and The Yardbirds and Georgie Fame and Van Morrison and all those people. The only person who ever did my songs in [ U.S] country was Bonnie Raitt.

I do very few standards. Hardly any. Other people's tunes that I do are usually obscure tunes, for the most part, although I do a couple of Duke Ellington tunes that are well known.

As far as I'm concerned, the essentials of jazz are: melodic improvisation, melodic invention, swing, and instrumental personality.

I've been able to do pretty well. I don't work as many consecutive nights as I used to, but I'm still working over 100 nights a year, so that's good for me.