I got a standard box. I don't never want nothing special. Then if I drop my box, I can borrow somebody else's.

Playing octaves was just a coincidence. And it's still such a challenge, like chord versions, block chords like cats play on piano. There are a lot of things that can be done with it, but each is a field of its own. I used to have headaches every time I played octaves, because it was extra strain, but the minute I'd quit I'd be all right. But now I don't have headaches when I play octaves.

You know, John Coltrane has been sort of a god to me. Seems like, in a way, he didn't get the inspiration out of other musicians. He had it. When you hear a cat do a thing like that, you got to go along with him. I think I heard Coltrane before I really got close to Miles [Davis]. Miles had a tricky way of playing his horn that I didn't understand as much as I did Coltrane. I really didn't understand what Coltrane was doing, but it was so exciting the thing that he was doing.

A lot of places we go, when they see the organ coming in, they're expecting rock and roll, but after they hear us play they like it. To me, guitar cuts through-it carries more than organ. But organ has got more guts.

I got a standard box. I don't never want nothing special. Then if I drop my box, I can borrow somebody else's.

It's impossible for me to feel like there's only one way to do a thing. There's nothing wrong with having one way of doing it, but I think it's a bad habit. I believe in range. Like, there's a lot of tunes that I play all the time-sometimes I hear 'em in a different register. And if you don't have complete freedom, or you won't let yourself get away from that one straight line, oh, my goodness, that's too horrible to even think about.

Regardless of what you play, the biggest thing is keeping the feel going.