When you start to kind of immerse yourself in that improvisation culture, you gotta be comfortable enough with your instrument to throw yourself into a really potentially dangerous situation.

I guess I'm getting to the age where a lot of other people my age have real jobs, and when they're hard-up they refer to an old-timer like me.

I learned what I could do with my voice on stages and because of the people that I was around. It wasn't me sitting in a room by myself. I didn't know what I was doing. I was figuring it out on the fly.

If someone were to hire me for a film they'd be getting a certain kind of package, that's for sure, a certain set of tools. But I would listen to the director.

I don't know why, but there's a certain element of panic in writing lyrics that I'm not sure I enjoy. I don't write lyrics first, ever. I've never done that. So, in a sense, the lyrics are a bit of an afterthought - it's music first.

The studio is my main compositional tool. And I used to be horrible in the studio. I didn't know any kind of technical stuff. But when you have something in your head, you've gotta figure out a way of executing it.

I lived in Italy for a number of years and I was really digging around trying to get my hands dirty, trying to learn about Italian music. And what I ended up gravitating towards was this stuff from the '50s and '60s and maybe early '70s, where there were these incredibly talented pop singers that weren't using pop bands.

If a person wants to be atheistic it's his God-given right to be an atheist.

I'm not a poet. I'm not up onstage to get something off my chest. I'm making musical statements, or, most of the time, musical questions for people to figure out, and I'm not going to get in the way of that.