It's good when someone says, "Would you write a song for this purpose," or "would you record a song for this purpose," or "would you help me realize this song," again, for this purpose.

When I listen to little fourth-dimension artifacts, they're like they were made as time capsules in the first place. You know that when you're writing the song and recording the song, you're already sending a message to the future listener, whoever and wherever and whenever that will be.

Sometimes the ensemble 'Eighth Blackbird' will have performances and invite me to be a featured soloist. I think that is what they call it in that world-"featured soloist."

I'd like my records to reach as many people as possible, but I'm also thinking in terms of how I can keep from getting jaded or unhappy with the process.

It's nice to be able to backtrack and not be embarrassed by the music you used to listen to.

I still make music. I still write music and I record music, I just don't trust music promotion [and] distribution right now enough to record a new set of diligently worked-upon compositions. I do trust the audience and the audiences very much.

To me, recordings are little fourth-dimension artifacts, because they already are representatives of past, present, and future, just inherently in their existence.