I think the solo playing, the decision to start playing solo, came out of having discovered what...
You do become a better interviewer because you become more confident.
Yes, I have a very wide selection, but nowadays if I buy a record I very rarely venture into unknown territory.
When you're younger, you've got more fire in your belly, an urge to make a name for yourself and maybe you think silence is not the way you want to be, you're a bit scared of it.
What we took as a privilege, the Americans took for granted.
We had all the London bands, including the Johnny Dankworth Seven.
There's no way you can create a chemistry where none exists.
There are many times I do a straightforward, professional interview.
The modern area of celebrity fascinates me.
So you find yourself limited by the age you are.
Other times, when there's a real relationship, when the interview becomes conversational, intimate, when you get the impression you're eavesdropping that's when it works.
My first interests were Jelly Roll Morton and the Armstrong Hot Five.
It's so embarrassing watching yourself back then, those awful hairstyles we had and those terrible concord collars and all that sort of thing.
It's not so much about what you ask as what you don't ask.
It's a funny thing, but when people talk about jazz piano nowadays they seem to overlook Earl, and I don't know why, because he had perfect musical taste.
It was with Ronnie's band that I first met my old mate Benny Green. He was reading a blue cover Penguin, a classic, the first jazz musician I ever saw reading such a volume.
It can change, but in the main people don't say anything surprising.
In the main, people say the same thing in relation to the same thing.
In my view a jazz musician is a great musician.
I've never liked my myself physically.
I'm very fond of piano players