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I got a chance to work with Miles Davis, and that changed everything for me, 'cause Miles really encouraged all his musicians to reach beyond what they know, go into unknown territory and explore. It's made a difference to me and the decisions that I've made over the years about how to approach a project in this music.

One of the things that I loved about listening to Miles Davis is that Miles always had an instinct for which musicians were great for what situations. He could always pick a band, and that was the thing that separated him from everybody else.

Miles Davis fully embraced possibilities and delved into it. He was criticized heavily from the jazz side. He was supposed to be part of a tradition, but he didn't consider himself part of a tradition.

Miles Davis is one who writes songs when he plays.

If Miles Davis hadn't died it would have been interesting to do an album with him, but there wasn't much else that would have got me into the studio... although Herbie Hancock has just been in touch about doing something and that would be an interesting combination.

I wanted very much to be Miles Davis when I was a boy, but without the practice. It just looked like an endless road.

Miles Davis was a master. In every phase of his career, he understood that this music was a tribute to the African muse.

My playing started to develop through the Miles Davis stuff I was listening to.

Miles Davis was doing something inherently African, something that has to do with all forms of American music, not just jazz.

Miles Davis would have this lineup of all these amazing musicians and one day would just say, 'We're done.' After tons of great records and tickets sold, he said, 'Now I'm going to grow my hair out and play my horn through a wah-wah pedal.' Rather than play it safe, he went on.