What I learned with Cecil Taylor was strategy and survival and how to resist temptations and resist getting discouraged.

When I heard Monk in person in 1955, he was playing with a quartet in a small club. The place was full of musicians, but there was no public at all.

Kenny G, I have to be grateful to him for proving that the instrument can be played all different kinds of ways.

They call me before they go into production, when they have a prototype, and they call legitimate saxophonists, too. As opposed to the other kind.

A lot of artists think they want anger. But a real, strong, bitter anger occupies the mind, leaving no room for creativity.

I feel it's my job as the artist who is making the music to pair it with visuals that I see in my head while writing the music in the first place.

The new idea for me now is creativity. I like to express myself.

All too often, legacy management practices reflexively perpetuate the past - by over-weighting the views of long-tenured executives, by valuing conformance more highly than creativity and by turning tired industry nostrums into sacred truths.