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I've been thankful to work with some wonderful people and sort of combine forces with some folks that... like in recent years, working with Alan Ferber or his brother Mark who's a wonderful drummer.
I think we're in a time and place, the last 20 plus years, and certainly now, it's only more so, where it's just about us creating a body of work. Creating hopefully our own scene.
When I was a kid, I always saw these pictures of a man called Bob Gordon with a baritone saxophone, who I understood was my father. Turns out he wasn't. He was my mother's first husband.
If you want to make [your own way in music] it as a player, which is very difficult, as Art Blakey said to me, "We're blessed to have the opportunity to do this." So just keep that in mind.
If you go with that spirit, good things will come for you. If you go into it with an assumption that you're a genius and that you're entitled to something, it's a little tougher.
[We need] someone like Don Sickler, who is an amazing trumpet player and who is also a publisher and amazing producer and composer and arranger. There's a lot of ways you can make a contribution.
Now we also need people who just love to listen to the music. And we need people that want to work to facilitate it. That want to do work, have somebody like Bret Primack, the jazz video guy.
Teaching has definitely become a big part of my life in the past ten plus years. As it often does for many dedicated players. Because you can have some great gigs.
Phil [Wood] was very passionate. Very committed. He felt very blessed that the people that cared about him and took him aside... if he was out of line or drinking too much, being too surly.
We [with my mother] listened to music when I was a kid. We listened to a little bit of Bob's [Gordon] music, but just a little, I think it was too painful for her.
I asked all through third, fourth and fifth grade, when they were asking kids to be in the band, to be in the school band. But they wouldn't let me do it.
There were some things I was going and doing in Europe a little bit. Some festivals that brought me over. That was good. Some touring I did over there. But there was nothing major [from 22 to 29].
The streets weren't paved with gold and Rose petals [when I was young]. "Do I have a horn to sell this month to pay my rent, or what am I going to do?" It was what it was.
When [Charlie Parker] saw the young guys, especially the ones that were scuffling... "Did you eat today?" And if you hadn't eaten, he'd take you and buy you some lunch.
[My mother] told me a little bit about the scene out there and I think, as a small child, I just always felt a connection to that history because my mother had described it to me.
Pretty fortunate that with the exception of two months when I was 23, that I worked in a law office pushing paper around. I was always able to eke out a living somehow. So I'm blessed.
I think Hollywood, as it's been, will have to change because the model of Hollywood is "we'll make this content, and you guys buy it," but I don't think that's the future.
Everyone has the attitude that movies aren't just disposable entertainment - they can really mean something. I love that, because that's the way I feel about films.
I just love to act. It's my favorite thing to do in the world, and what keeps it interesting, to me, is the creative challenge. So, different kinds of characters, that's what I just love to do.