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

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 is one who writes songs when he plays.

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.

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.

Miles Davis turned his back to the audience when he came out on stage, and he offended people. But, he wasn't there to entertain; he was all about the music. I kind of do that.

Miles Davis was a part of my life from 1947 on. I was born in 1941 and I first heard him in 1947 on a 78 rpm. And then I followed his career, starting with his first solo album in 1951. He was an icon and inspiration and a mentor to me.

We're trying to do what Miles Davis would have wanted us to do, which is approach it as artists with his life as the canvas.

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

Being inducted into the songwriting hall of fame by Clive Davis, that was pretty memorable.