I think that the blues is in everything, so it's not possible to neglect it. You hear somebody go 'Ooh ooh oooh,' and that's the blues. You hear a rock n' roll song. That's the blues. Somebody playing a guitar solo? They're playing the blues.

There's always the cliche of the choir shouting and clapping. OK, you have to do that, but there's also introspective parts, parts where you just follow someone that's preaching. There's lots of different emotions and moods that a service requires.

We no longer want to be a melting pot, because we don't understand what is already melted.

I grew up in the South, in New Orleans, where guys torture you all the time. So I didn't really grow up on the self-esteem campaign. When you were lousy at something, they told you you were lousy, and they told you how to fix it.

My schedule is always tight. But I like to have the pressure of having to finish doing something; it gives me an added edge.

Because the blues is the basis of most American music in the 20th century. It's a 12-bar form that's played by jazz, bluegrass and country musicians. It has a rhythmic vocabulary that's been used by rock n' roll. It's related to spirituals, and even the American fiddle tradition.

Through improvisation, jazz teaches you about yourself. And through swing, it teaches you that other people are individuals too. It teaches you how to coordinate with them.