What I believe to be jazz is constructed and improvised music which is in the air right now. But I don't think that's most people's definition of jazz, you know? We don't know what we're talking about, because we don't know the definition.
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My musical education started in the limelight, because I found myself surrounded by real musicians, but after my career had taken off.
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I've been through this fame thing before, when the band was big in '80, '81.
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I remember seeing McCoy Tyner in concert, and thinking that the music was incredible, but wanting to be invited in. I figured that humor was the way of letting the audience in. I've gotten a hard time about it, but I love to be funny onstage.
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The thing with sculpture is, 90% of the time, when I pass a piece of sculpture, it's in public or somewhere, and it's just, how inconvenient that that's there. It takes up so much room, and it's so oppressive.
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I guess I just want everything to be available immediately.
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When I first got sick, they told me I had a year to live, and I was writing my memoir really fast. There were really weird things happening with my nervous system and my heart and stuff, and it didn't look like I was gonna make it, so I was writing really fast, and then I couldn't write anymore.
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Kenny G is not real jazz. I don't even think Wynton Marsalis is real jazz. I don't think Harry Connick Jr. is real jazz. If there is such a thing as real jazz, The Lounge Lizards is real jazz, Henry Threadgill is real jazz, Bill Frisell is real jazz, you know?
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If someone who knows what's going on comes up and says they liked the music, I appreciate that.
