“There’s a lot of hip-hop that would be great with a banjo in it. It would just groove like crazy, and I hope I get to be one of the guys who does that, because it’s coming. It’s coming.”

I learned that I’m so busy with what I’m doing, so focused on what I’m doing, that I miss a lot of opportunities for interacting with people.

I first heard the banjo on the Beverly Hillbillies, and from then on I was banjo-conscious. But I didn’t actually get one until my grandfather gave me one, almost by mistake.

When I play my own music, or when I play new music, there’s much more stress and intensity of thinking about how I’m going to make it work!

Sometimes you can fix something that went wrong with what you do next and make it better than it would have been if it hadn’t gone wrong, as an improviser, and I do know how to do that.

Sometimes you can fix something that went wrong with what you do next and make it better than it would have been if it hadn’t gone wrong, as an improviser, and I do know how to do that.

I don’t know enough about hip-hop, though I’ve heard some great hip-hop. I just did a thing with Qwest Love – we did a performance together in Memphis at the Folk Alliance Festival, and we had a great jam and a conversation.

It doesn’t have to be happy music to be inspiring.

I doubt anybody would have pushed me [on the music]. When I was at Sony nobody ever gave me any creative suggestions on the music.

I think I’m getting better at being verbal. I used to have a lot of problems with it. I had my own little demons that I was fighting, and I used the banjo as an escape.

I think the musical evolution I’ve gone through has come from all the work with the material.

There is a tendency to want to isolate a little bit, from people that might look at me from a fan position, because it’s hard to be a real person around them, and I really want that when I’m not out on tour and in that sort of public eye.

And then Earl Scruggs comes along and transforms the banjo into a virtuosic modern instrument. For the first time, the Southern banjo style becomes the identity of the banjo, and everything from before is wiped off of people’s consciousness by the power of that explosion.

He knew I was playing a little bit of guitar. He saw a banjo at a flea market and bought it. I took it home with me and just never put it down. I was fifteen.

My most powerful memory was hearing Earl Scruggs on ‘The Beverly Hillbillies’ as a 5 or 6 year old. That sound just blew me away, shook my head up.

I think it is very ironic that most people think that the banjo is a southern white instrument. It came from Africa and even for the first years that white people played banjo they would put on blackface.

I think the Flecktones are a mixture of acoustic and electronic music with a lot of roots in folk and bluegrass as well as funk and jazz.

Hip-hop is bigger than the South; hip-hop is bigger than New York.

Hip-hop has done so much for racial relations, and I don’t think it’s given the proper credit. It has changed America immensely.

Hip-hop has done more for race relations than most cultural icons; and I say save Martin Luther King, because his ‘I Have A Dream’ speech was realized when Obama was elected into office.

Hip-hop is more about attaining wealth. People respect success. They respect big. They don’t even have to like your music. If you’re big enough, people are drawn to you.

Hip-hop is the streets. Hip-hop is a couple of elements that it comes from back in the days… that feel of music with urgency that speaks to you.

I think hip-hop could help rebuild America, once hip-hoppers own hip-hop… We are our own politicians, our own government, we have something to say. We’re warriors. Soldiers.

People are intermingling, hanging out, having fun, enjoying the same music. Hip-hop is not just in the Bronx anymore. It’s worldwide. Everywhere you go, people are listening to hip-hop and partying together. Hip-hop has done that.

I make hip-hop, but use Doom as a character to convey stories that a normal dude can’t.