Every recording session and tour is a very valuable time to me in terms of getting to spend time with the musicians - whether they're friends and family or people I've just met - because I don't have a job where I get to interact with people everyday.

Then little writings and recordings that thankfully continue to come up. I'm in this kind of wonderful, kind of awkward, off-putting, and strange position where there's nothing I want to do more than continue to make music, but the ways that I do things are not in tune with how I can do them commercially.

In the United States the government has become less important. So, it's democracy, but as each year passes it seems that the government plays less of a role in people's lives, and so they're living in whatever situation their employment imposes upon them more than they're living in a grand political system.

I don't like going to cities. I don't mind maybe being in a city sometimes for a few hours, but I pretty much don't like cities. I don't even like passing through them.

My dream many years ago would've been to continue to write and record songs in record/album form for years to come, but now records aren't what they were then - and so it doesn't actually feel very good to make a record of songs.

We always keep things very, very simple. We can make a respectable living playing a smaller room that somebody else couldn't, because they're spending a lot of money. If we can't get a show up and deliver with what we almost intrinsically have in our brains and our pockets, then I don't really want to do it.

I felt so liberated when I first saw Charles Mee’s 'The Glory of the World' at BAM play, because for me this is the gateway to contemplation, or this is the gateway to love, or this is the gateway to faith, not sitting and reading a book by an isolated monk, god bless him. This is.