New Orleans is a place where people are deliberately undereducated so that they can be a labour class - the economy there is tourism, and one of the only outlets that black males have traditionally been allowed is to play jazz music, y'know?
I'm moved by a lot of different kinds of music, whether it's pop music or R&B or straight-ahead jazz or free or opera or music from all parts of the world.
My grandfather was a massive influence in my music. Growing up, he would play a lot of old-school records to me. A lot of jazz and swing music, actually, growing up.
This music that was supposed to only come from tapes like in any restaurant. Something would happened. One bird will start to do a little jazz thing, and another bird will start to answer.
It was the early days of Rock 'n' Roll in this country. We were all struggling to learn music, it might be Country, Jazz, Classical, Blues or even Rock 'n' Roll.
I really don't care at all what people call me as long as they're listening to the music and talking about it. They can call me a space-jazz flautist. I don't care at all.
The Zombies were really unique - they had elements of jazz and classical music in their songs and songwriting. They had a very, very different sound compared to a lot of their contemporaries at the time.
Everybody's not going to like jazz, let's just be honest about it. Everybody doesn't like everything. There's a disconnect in generations and some people just aren't going to feel that music.
I don't limit my taste. There's some jazz that I like and there's some opera. I've been listening to what was essentially country music, but it crossed over to rock.
The only type of music I don't like is Dixieland jazz. It's just a little too happy and noisy for me. I like intervals and spaces in my music. There's just something about Dixieland.
I had 12 years of classical music as a child, playing piano competitions as a teenager, playing in blues bands and rock 'n' roll bands, country and jazz bands. I played in about any situation.
One of my problems is I'm not really sure if I slot into rock or not. I've always tried to combine world music, folk, jazz, blues and rock, and have done since Traffic.
The blues. It runs through all American music. Somebody bending the note. The other is the two-beat groove. It's in New Orleans music, it's in jazz, it's in country music, it's in gospel.
My big influences are Joni Mitchell, and a lot of classical and Indian music, as well as Nina Simone and the personal blues and jazz of Billie Holiday. Other influences for me include Bjork, Nick Drake, and Sufjan Stevens.
Dinner 'conversation' at the Cohens' meant my sister, mom, and I relaying in brutal detail the day's events in a state of amplified hysteria, while my father listened to his own smooth jazz station in his head.
I was serious about ballet for a long time, but my mom got me into tap and jazz and modern and hip-hop, and I was one of those over-lessoned children.
The whole world loves American movies, blue jeans, jazz and rock and roll. It is probably a better way to get to know our country than by what politicians or airline commercials represent.
Growing up, I listened to a lot of jazz and blues records - John Coltrane and Etta James. I was also really into Radiohead and the BeeGees.
Through improvisation, jazz teaches you about yourself. And through swing, it teaches you that other people are individuals too. It teaches you how to coordinate with them.
And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.
After the war, once the bop revolution had taken hold, there were all kinds of young musicians, talented young musicians, who were ready for this fusion of classical and jazz.
