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When you hear a great two-track of a performance in Carnegie Hall, let's say, it sounds like you're right there at that moment. It's true to reality. And the closer it gets, once it gets too technical, it becomes very tinny to hear notes. It doesn't sound right. It has to be natural.

Maybe in music you're making an auditory environment and maybe you change your environment around you to suit your own way.

That's what it is that you rehearse - the making of music, not the playing of notes as abstractions.

If you listen to nature, all the sounds are done in a confident way. I'm trying to do that.

Once you start playing a piece, there is a connection between every note. You cannot say, 'I will not concentrate on this note.' You cannot ignore things the way you do in the rest of your life.

When you're making music or playing a song, I find the moments when there are no instruments being played even stronger than when they are being played. Because they add tension. It's also an ego-less thing - a place where you have no ego - when you're with a bunch of musicians who stop and listen instead.

For me, playing music is like meditating - I just play and don't really think about what I'm doing, I just let it happen.

Sound is the vocabulary of nature.

Little moments of excitement shape the sound of a record. You don't have anything, and then you start to have little parts that give you the energy to move forward because you start to see something.