“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.”

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.

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.

Buy our album, were Nirvana, a garage band from Seattle. Well, it sure beats raising cattle.

One of my pet peeves is that sometimes the talents of my band get overlooked because, and it was the same problem that Frank Zappa had, with a lot of groups that use humor, people don’t realize there’s a lot of craft behind the comedy.

I’ve been saying for almost 20 years that I need to do a jazz project and it ought to be either big band or I should do some jazz songs with a trio or quartet.

THE LAW OF THE CONTRACTION: A brand becomes stronger when you narrow its focus.

When I got to university, I played in bands and did sketch stuff and it was always about coming up with material, which is why I never really practised and have no chops!!

Our label is very digital-friendly. We try to provide some free stuff to get interest in the band, but we have to pay our artists. They have to get paid.

When I was growing up, we had all these crazy bands on the Top 40. Today, if Pink Floyd released “Money”, it wouldn’t even get played.

I got my influences from 70s bands – Zeppelin, Pink Floyd, blah blah blah.