I still play jazz, and I've always got that trumpet very handy, but I'm coming to feel the classical venues are where my main focus is, in the realm of symphonic pops.

The jazz chord substitutions in a country song... that was another thing that bent people's ears. I guess that my favorites are the unique ones. It's not how fast you play. It's that unique blending of different stuff I'm most proud of.

Well I went to New Orleans to cover the jazz festival for Trio, it's this new arts channel, it's really great.

I have a bachelor's and a master's in jazz.

After the war, once the bop revolution had taken hold, there were all kinds of young musicians, talented young musicians, who were ready for this fusion of classical and jazz.

I listened to classical guitar and Spanish guitar, as well as jazz guitar players, rock and roll and blues. All of it. I did the same thing with my voice.

I am not a jazz singer. I wouldn't place myself on that footing. I wouldn't even enter that arena.

I'm not a jazz singer.

It is veneer, rouge, aestheticism, art museums, new theaters, etc. that make America impotent. The good things are football, kindness, and jazz bands.

Well, I guess my unease with that is... I'm always a little uneasy with that phrase - smooth jazz, as opposed to what?

Jazz music is an intensified feeling of nonchalance.

Writing is a question of finding a certain rhythm. I compare it to the rhythms of jazz. Much of the time life is a sort of rhythmic progression of three characters. If one tells oneself that life is like that, one feels it less arbitrary.

There is an apprenticeship system in jazz. You teach the young ones. So even if the musicians weren't personally that likable, they felt an obligation to help the younger musicians.

I cut myself off from the mainstream of jazz. It stood me in good stead later on, as a musician.

Most of what I listen to now is mainstream jazz from 1935 right up to and including early bebop and cool jazz.