“Sometimes when you start losing detail, whether it’s in music or in life, something as small as failing to be polite, you start to lose substance.”

Some of the guys I played with .. didn’t go around learning more about their instruments from an intellectual point of view. All they wanted was to play hot jazz, and the instrument was just a means.

I’d imagine that a lot of them criticized me-said my technique was too good. Something like that. But I’ve always wanted to know what made music. How you do it, and why it sounds good. I always practiced, worked like hell.

As soon as it was understood that we could handle things in our own way, it was the thrill of my life to walk out on that stage with people just hemming the band in.

If a guy’s got it, let him give it. I’m selling music, not prejudice.

Creativity grows out of two things: curiosity & imagination.

There was a lot of playing going on, and the New Yorkers, of course, were a completely different crowd from what I’d known.

If you want to do something, you do it anyway, and handle the obstacles as they come.

I remember Glenn Miller coming to me once, before he had his own band, saying, How do you do it? How do you get started? It’s so difficult. I told him, I don’t know but whatever you do don’t stop. Just keep on going.

You have to have the courage and confidence in your own ability. You have to know what the hell and who the hell you are in this business. Music may change, but I don’t think that ever will.

If I have something I want to do, I make a business of doing it.

I don’t have any great love for Chicago. What the hell, a childhood around Douglas Park isn’t very memorable. I remember the street fights and how you were afraid to cross the bridge ’cause the Irish kid on the other side would beat your head in. I left Chicago a long time ago.

There was a refinement about his playing. You know, in those days I played a little trumpet, and I could play all the solos from his records, by heart.

Too many young musicians today want to win polls before they learn their instruments.

People have often said to me, ‘You’re so relaxed when you play.’ Relaxed my elbow. It’s practice.

I’d never heard anything like the way he played-not in Chicago, no place. The tone-he had this wonderful, ringing cornet tone. He could have played in a symphony orchestra with that tone. But also the intervals he played, the figures-whatever the hell he did.

To this day, I don’t like people walking on stage not looking good. You have to look good. If you feel special about yourself then you’re going to play special.

[Scott Derrickson] is terrific, really sharp on the details, and he’s not afraid to go to dark places.

Transparency and detail are everything in science.

I don’t know why people are so keen to put the details of their private life in public; they forget that invisibility is a superpower.

One must be entirely sensitive to the structure of the material that one is handling. One must yield to it in tiny details of execution, perhaps the handling of the surface or grain, and one must master it as a whole.

I don’t have to figure out why or how or when. God has a plan, and I’m committed to it. That commitment frees me from having to worry about the details.

Every new discovery in science brings with it a host of new problems, just as the invention of the automobile brought with it gas stations, roads, garages, mechanics, and a thousand other subsidiary details.

I have a habit of recording records very quickly – and not in a haphazardly way, not in a way where I’m not focused on details, because I’m a freak when it comes to that.

If they are, they can fill in the details even better than I could, just with their imaginations.