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.

If you really dissect hip-hop you will find a whole lot of Charles Mingus, Ron Carter, Ahmad Jamal, a lot of classic jazz samples in there.

It came from my mother. She was a singer, and literally every day of the week she sang at a different club in a different genre of music: country, R&B clubs, jazz clubs, church on Sunday morning where she was the music director, pop hits, soft rock. I grew up listening to all this music, so it was never one thing for me.

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.

"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."

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.

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