Once in a blue moon someone like you comes along.

That's what it is-it's jazz. It's just jazz. That's what the whole thing is about to me. It's about what's happening right now in this context. This conversation is jazz to a certain extent. It's improvisation. What appeals to me about music is the improvization. That's what I don't like about the media-they're not living it.

Joyous Sound evolved from a gospel influence. Actually it evolved out of sitting at a piano and just picking out a riff, a gospel type riff. It just seemed to come joyously-something about the song, about living in another place of joyous sounds. I'm not quite sure-that's one I'm trying to analyze. It just came out.

When you perform live, it's a different trip - it's different energy. I just felt a conflict between both of the trips. I was trying to evaluate what it meant for me to be a singer/songwriter and what that whole thing all meant.

I've always listened to jazz or folk or blues. I was always listening to the prophets. I don't really go for...I don't know how to say anything about the singles scene without slamming people.

You come into my dreams from a whisper to a scream.

I'd much prefer to hear somebody like Ed Thigpen [drummer with New York session group Stuff, and featured on innumerable hits] take a solo. I mean, that's what it is. I'd much rather hear that than the jazz/rock thing because it's blowing an aspect of jazz that I really like...the level where you can snap your fingers to it and you can groove to it. You can do anything to it.