A young tenor player was complaining to me that Coleman Hawkins made him nervous. Man, I told him Hawkins was supposed to make him nervous! Hawkins has been making other sax players nervous for forty years!

There's a reason why the Foo Fighters don't blast out Nirvana songs every night: because we have a lot of respect for them. You know, that's hallowed ground. We have to be careful. We have to tread lightly. We have talked about it before, but the opportunity hasn't really come up, or it just hasn't felt right.

When you're at a concert and you hear someone improvise well, that's special; it puts you in the moment and takes you someplace. To pull that off, a musician must be able to play his or her instrument really well, but more importantly must also be able to express something and take the listeners beyond themselves.

That's the music that I play at home all the time, Joni Mitchell. Court and Spark I love because I'd always hoped that she'd work with a band. But the main thing with Joni is that she's able to look at something that's happened to her, draw back and crystallize the whole situation, then write about it. She brings tears to my eyes, what more can I say? It's bloody eerie. I can relate so much to what she says. "Now old friends are acting strange/They shake their heads/They say I've changed."

There is nothing to keeping a band together. You simply have to have a gimmick, and the gimmick I use is to pay them money!

My introduction of Whitney was that if there's going to be one performer for the next generation who combined the beauty and lyric phrasing of a Lena Horne with those Gospel fiery roots of an Aretha Franklin, it would be Whitney Houston.