I think it's important as a performer, no matter where I travel, if I run into someone at the airport or I'm having a conversation on an airplane, run into someone on the sidewalk, or you're waiting on a long line and you start talking to somebody, who doesn't really share a lot of your same views, but then you come to commonality, I think that's very very important as well.

I guess, in a way, I grew up mixed race: half white, half black. That question's always been on my mind: 'What are you? Are you this or that? Are you a white dude or are you a black dude?' In a strange way, music and comedy is kind of the same thing. I'm both.They're just different modes of expression.

There are three different modes: playing piano, just me at the microphone, and me at my effects units. And I can mix those up in different ways.

An improv artist's best instrument is their ability keep their antennae clean so they're able to receive what I call the connection to creativity. It's the thing that you see in any amazing moment that any human being is performing. Whether it's watching Michael Jordan navigating through all these attackers and then suddenly rising up and putting the ball in the most amazing way, or watching an actor on stage playing Shakespeare, but not thinking about the actor anymore or the stage or you or the chair, any of these kinds of moments of transcendence.

What I'm doing on stage now is just the tip of the iceberg.

The idea of experimenting with machines to create art was always something I tinkered with.

If I'm improvising and I'm not doing well it's because I'm not listening very well. Either I'm overly concerned with something or I'm drifting or maybe I'm too stoned but I'm not getting a clear signal.