“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.”

Being from New York, I wonder why am I inspired by bluegrass and Earl Scruggs? But when I look at the whole history of the banjo, I feel really good about it, including the Earl Scruggs part.

I always try to work with people who are better than me, so I can learn more.

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 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 release all fears and doubts. I accept myself and create peace in my mind and heart. I now choose to free myself from all destructive fears and doubts. I am loved and I am safe.

Doubters don’t win, winners don’t doubt.

There is no doubt that we cannot do without variable quantities in the sense of the potential infinite. But from this very fact the necessity of the actual infinite can be demonstrated.

Do not doubt your own basic goodness. In spite of all confusion and fear, you are born with a heart that knows what is just, loving, and beautiful.

Doubt whom you will, but never yourself.

Living by faith isn’t living with certainty. It’s trusting God in spite of unanswered questions and unresolved doubts.

If you pray for bread and bring no basket to carry it, you prove the doubting spirit, which may be the only hindrance to the boon you ask.

There is no doubt that we live in an age of unprecedented, and sometimes terrifying, technological advance where the speed of advance so often outstrips the necessary ethical considerations.