It's funny, now that we have Twitter and Facebook and stuff, you can really see how you affect fans. Before all that, fans couldn't tell you exactly how they feel, unless they came up after a show, and even then you can't stand there and talk to everybody in the audience. So it's nice to see people tweet me and say, "Your music has changed my life," or "I had my baby to your music," or "I got married to your music." I've heard so many things, and it's amazing to hear people's stories and how you affect their life.

That's a skill that I'm proud of: to be able to be a jazz musician and go a bit crazy sometimes and other times be able to pull it all in and lay it down like a track.

"Cannonball Adderley said, 'First 20 minutes we'll jazz out, then the last hour it's gonna be songs that people paid to see.' Which is why he was driving a Rolls-Royce."

It's the repetitive thing that brings space. That's one of the things I love secretly about hip-hop. Jazz doesn't have that element. It changes every bar, nothing is ever the same.

My fan base is extremely random. It's the 14-year-old white kid sitting next to your auntie from St. Luke's Baptist Church, to the 20-year-old Black girl who probably would go to a Rihanna concert, but she's coming to my show.

I grew up in church. That's how most young African American musicians learn how to perform. You could be six years old and playing organ or drums in front of thousands or hundreds of people.

Jazz is a state of mind. There's no boundaries.