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

I think my first impression (of Bix Beiderbecke) was the lasting one. I remember very clearly thinking, ‘Where, what planet, did this guy come from? Is he from outer space?’

After you’ve done all the work and prepared as much as you can, what the hell, you might as well go out and have a good time.

One way or the other, if you want to find reasons why you shouldn’t keep on, you’ll find ‘em. The obstacles are all there; there are a million of ‘em.

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.

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

Maybe the idea of being a rockstar or being the one who’s recording or playing.

What Muddy Waters did for us is what we should do for others. It’s the old thing, what you want written on your tombstone as a musician: ‘He passed it on.’

When I was thirteen I only wanted to be a drummer.

Sort of doesn’t really matter as much anymore, when you’re surrounded by great musicians who bring their spirit, their own talent.

I’m on my feet and I’m doing what I love to do, and I’m in a profession, as a musician, where we can go on for as long as we can go on.

Fondest memory of being a Beatle: Having three brothers.

I think musicians are perfect at knowing how to get the best out of other musicians. I can really relate to that communion.

I’m a self-taught musician, so I never really had the restrictions of any one instrument.