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There are so many musicians in New York, and there is this energy and fire in this city that inspires you and makes you want to learn and to get out there. People are constantly evolving and constantly creating here, and you get pushed along just by being in that energy.

There's a bit of a new guard of contemporary classical musicians in New York, and we play a lot of different kinds of music together. We do pop studio sessions, and we'll also play John Cage and more avant-garde work. We're developing a language of music that comes with a lot of different styles, different kinds of work.

The best part about living in New York is that you are able to play with different people in different styles in the same week. It's really part of who I am as a musical person. I try to incorporate everything that I encounter.

When you live in New York and are an artist and are interested in people, you meet a lot of people.

Other than Caroline's in New York, I pretty much haven't done clubs. That was primarily because I always liked the people and audiences at theaters and bars better.

You'll find little schools of musicians experimenting with different ways of making music in Brooklyn, all through Manhattan, in Queens, in Jersey, you know? The city is still bubbling with creativity.

When I got started in New York, it wasn't like it is now. If you were different from Miles and Dizzy, it was very difficult to make gigs and make money with your own style.

I worked hard all my life as far as this music business. I dreamed of the day when I could go to New York and feel comfortable and they could come out here and be comfortable.

I just did a play in New York which has been my best experience that I've had for maybe ever. It was Paul Weitz's play called Privilege and I was in New York for three months.