Something special can happen late at night in a jazz club. As the crowd thins, the musicians intuitively sense that those few who have stayed, have stayed for a reason. A reciprocity of need and desire inspires the musicians to dig as deeply into their talent and souls as they are able. This mysterious and transformative confluence of events rarely happens in concert. It is the province of the nightclub.

I must say, I don't think there's any more challenging music out there in jazz than what we're doing.

I would like to have people hear dissonance, but I don't want it to be so off-putting that they never get there to begin with. That's actually how I hear it; that's what's pleasant to me. I don't like dense, chaotic dissonance. My brain gets lost. I need something to hang onto.

I am a fan of the compositions of The Beatles, but I don't care for their interpretation of them. But as compositions, I just think that some of them are brilliant and have become standards.

Something special can happen late at night in a jazz club. As the crowd thins, the musicians intuitively sense that those few who have stayed, have stayed for a reason. A reciprocity of need and desire inspires the musicians to dig as deeply into their talent and souls as they are able. This mysterious and transformative confluence of events rarely happens in concert. It is the province of the nightclub.

All music now, I think, is fair game for jazz musicians to interpret, and they have been. I would consider those songs standards now. "Norwegian Wood" is a standard; "Call Me" is a standard.

Jon Deitemyer is the drummer everyone wants right now.