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The desire to hit a big home run is dominating the music business.
Why do musicians give so much time to charitable causes? The most humanitarian cause that we can give our time to is the creation and performance of music itself.
The thing that is making jazz healthy today is that people are coming out of other backgrounds - from rock, folk, from ethnic music. It's changing the music, and for the better.
When I was 20, political music was the uncoolest thing on earth. But when Bush got elected, that was the first time I started actually reading the news.
Miles Davis turned his back to the audience when he came out on stage, and he offended people. But, he wasn't there to entertain; he was all about the music. I kind of do that.
I was a schooled musician. When I made 'Blue Velvet', I told everyone what to do. I was an arranger. I learned music in school I told the band to play this. I told the guitar to do that.
I played Big Band jazz music. I wasn't into rock and roll. I was just there because it was a living. I surprised everyone. I'm still surprising people.
A lot of political music to me can be rather pedantic and corny, and when it's done right - like Bruce Springsteen or Jackson Browne or great satire from Randy Newman, there's nothing better.
Quite frankly, I've always listened to the black side of the radio dial. Where I grew up, there was a lot of it and there was a lot of live music around.
Music draws from almost the identical place as art does, which really is that intangible - it's like you're pulling from the ether. I don't know where it comes from.
Frank Sinatra turns 100 this year and his music has been a major player in the soundtrack of my life. So it's only right that I return the favor and pay it forward.
We're going through this super-uptight era, which I think comes entirely from literacy, actually. It's the result of machines that were designed as word processors being used for making music.
There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
At the beginning of the 20th century, the ambition of the great painters was to make paintings that were like music, which was then considered as the noblest art.