I have always been a person who is concerned with the dignity of jazz music and the way jazz musicians have been treated and are treated, and the fact that the music has not been given the kind of due that it deserves.

I think we are in the midst of this period where we are committing this suicide on the planet and everybody is just using up all of our natural resources like a bunch of insane people. That's what I worry about more than I worry about jazz.

There was a period which I refer to as the 'Golden Age of Jazz,' which sort of encompasses the middle Thirties through the Sixties, we had a lot of great innovators, all creating things which will last the world for a long, long time.

But if I didn't have to make money, I would still play my horn.

I am a person who thinks about the music first in trying to achieve something musically valid.

I feel that L.A. has not always been my strongest base for support. That can be for various reasons.

I think the problem starts with the general appreciation of the music in the larger society.

Many jazz artists go to L.A. seeking a more comfortable life and then they really stop playing.

There have been many great musicians that, Clifford Brown is one great example, I mean he died very early, 25.

What I am more concerned about is whether our whole civilization will be around in the next 25 years.

Europeans really provided many venues over there and hailed the jazz artists, and a lot of musicians went over there and stayed over there for a long time. A lot of them moved over there, lived over there, and died over there.

Even the most jingoistic person would have to admit that even American cultural music comes from Europe. That's what classical music is, real European music.

I don't want to appear hostile, like I'm hostile to L.A. or that I feel that the people don't appreciate jazz. I don't think it's that. I think it's something more. It's something a little bit more complicated than that.

I enjoy playing clubs. I still enjoy the closeness of the nightclub venue. However, after a certain period of time and after playing around some of the clubs in New YorkI felt that jazz should be presented in a more prestigious atmosphere.

I guess fortunate that I'm still around and I emphasize I guess because you never can tell what musicians would be playing had they been around as long as I have.

I have seen great jazz musicians die obscure and drinking themselves to death and not really being able to get any work and working in small, funky jazz clubs.

I miss playing with Miles. I did play with him a little while before he left the planet, but even at that time I longed to maybe do some things together.

I think as long as people are around and can hear a record and hear people like Lester Young on a recording, there will always be a great inspiration for somebody to try to create jazz.

I think what we need is a more welcoming mode from the people who put on a hundred million country-western shows on television. How about a monthly jazz show?

I've played with all of the heavyweights in the modern jazz, progressive jazz movement. I've been fortunate enough to play with them, a who's who. All of those guys, I've been fortunate enough to have performed with.