I had a checklist in my mind of the things that make a biography practical. Is the source material centralized? Is it easy to find? Are there new primary sources that no one has ever had access to? Are all the sources in English? If they're not, are they in a language that you speak? And I realized that not only is Armstrong the most important figure of Jazz in the 20th Century, but he's a perfect subject for a biography for all of these reasons. I had always loved his music and I had been fascinated in him as a personality. And that's really the key to writing a biography.

The papers that flourish will be papers that serve a national audience. Papers that have figured out how to make the transition to the electronic platform that aren't simply providing a duplicate experience of the words on paper experience, but are doing something that arises organically from the new electronic medium. It's really just a matter of finding the right platforms for the way people want to read newspapers. I mean, maybe it will be the iPhone. But one way or another, newspapers on paper are just not really going to exist to any significant degree within a decade.

I've always loved opera; it never occurred to me that I would write a proper libretto. One of my closest friends is a composer, Paul Moravec, and a few years ago, Paul and I were at lunch, and I said to him, "you really have to write an opera." So, he says very casually to me, "I'll do it if you write the libretto." Well, little did I know that the within a couple of years we would end up getting a commission from the Santa Fe Opera to write an opera together, "The Letter," which turned out to be the most successful commissioned opera in the history of the Santa Fe Opera.

The most important thing to remember is that the composer is a senior partner. You cannot force a subject on a composer if it doesn't inspire him. He has to take the lead, you are an enabler, and you are creating the enabling conditions under which he can write great music. Your words are secondary. Many librettists in opera collaborations in the past have forgotten this, or not known it, or refuse to accept it and tried to get out in front of the creative process and it just doesn't work that way.

The average age of the Jazz audience is increasing rapidly. Rapidly enough to suggest that there is no replacement among young people. Young people aren't starting to listen to Jazz and carrying it along in their lives with them. Jazz is becoming more like Classical music in terms of its relationship to the audience. And just a Classical music is grappling with the problem of audience development, so is Jazz grappling with this problem. I believe, deeply that Jazz is still a very vital music that has much to say to ordinary people. But it has to be systematic about getting out the message.

This impeccably researched study of the classic black insult game may be the funniest work of serious scholarship ever published.

I was interested in Armstrong to begin with because he is the most important figure in Jazz in the 20th Century. There's simply no question about it. I mean, if you're going to compare him to somebody, it's Shakespeare in terms of centrality of the tradition, in being at the beginning of it.