I'm not a person who writes really abstract things with oblique references. I look at abstraction like I look at condiments. Give me some Tabasco sauce, some ketchup, some mayonnaise. I love all of that. Put it on a trumpet. I've just got to have the ketchup and Tabasco sauce. That's my attitude about musical philosophy.

The arts speak across epochs. If you think that people started to build a cathedral in 1315 and the people worked on that cathedral, it wasn't going to be finished until 1585. So they were thinking 200 years from now. Maybe by the time I die, this wall might be put up.

I wanted to make somebody feel like Coltrane made me feel, listening to it.

What I really have in my head, my imagination, my understanding of music, I never really get that out.

Having heard Clifford Brown play all those fast runs, I used to really practice Clarke trumpet exercises all day long so that I could play fast. That's all I wanted to do. I was like a child with a toy.

Swing is extreme coordination. It's a maintaining balance, equilibrium. It's about executing very difficult rhythms with a panache and a feeling in the context of very strict time. So, everything about the swing is about some guideline and some grid and the elegant way that you negotiate your way through that grid.

We fight for territory. We see it in our Congress, we see it in our political systems, we see it in our ways of life, how separated we are. When we moved out of the cities and we lost all of the memory that was in cities, and we - one of the highest achievements in our culture is to be able to segregate yourself from everyone else, and the deep thing is the deepest punishment is solitary confinement.