There is a tendency to want to isolate a little bit, from people that might look at me from a fan position, because it's hard to be a real person around them, and I really want that when I'm not out on tour and in that sort of public eye.

I think the Flecktones are a mixture of acoustic and electronic music with a lot of roots in folk and bluegrass as well as funk and jazz.

I don't know enough about hip-hop, though I've heard some great hip-hop. I just did a thing with Qwest Love - we did a performance together in Memphis at the Folk Alliance Festival, and we had a great jam and a conversation.

Everybody should have a documentary made about themselves. It's amazing what you see and what you learn.

There's a lot of hip-hop that would be great with a banjo in it. It would just groove like crazy, and I hope I get to be one of the guys who does that, because it's coming. It's coming.

I always try to work with people who are better than me, so I can learn more.

Sometimes you can fix something that went wrong with what you do next and make it better than it would have been if it hadn't gone wrong, as an improviser, and I do know how to do that.

I learned that I'm so busy with what I'm doing, so focused on what I'm doing, that I miss a lot of opportunities for interacting with people.

Being from New York, I wonder why am I inspired by bluegrass and Earl Scruggs? But when I look at the whole history of the banjo, I feel really good about it, including the Earl Scruggs part.

When I play my own music, or when I play new music, there's much more stress and intensity of thinking about how I'm going to make it work!

And then Earl Scruggs comes along and transforms the banjo into a virtuosic modern instrument. For the first time, the Southern banjo style becomes the identity of the banjo, and everything from before is wiped off of people's consciousness by the power of that explosion.