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“The 'civil rights' revolutionary groups are a case in point. Their goal is not equality but power. The background of Negro culture is African and magic, and the purposes of magic are control and power. . . Voodoo or magic was the religion and life of American Negroes. Voodoo songs underlie jazz, and old voodoo, with its power goal, has been merely replaced with revolutionary voodoo, a modernized power drive.”

“I think the other thing that's important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time. In fact I often say that the biggest difference between classical music and everything else is that classical musicians sometimes shut up because they're told to, because the score tells them to. Whereas any music that's sort of based on folk or jazz, everybody plays all the time.”

“It's all about respect; he's looking for respect from his buddies. In the last one he just wanted to hang out, to be part of the group, but this time he wants more from his friends. And without giving the story away, he finally gets something that he has been looking for when the mini sloths kidnap him and take him to their tribal area. He gets to be the Fire King and they worship him and there is an amazing scene with a "call and response" sequence in the style of Cab Callow [the legendary American jazz singer and band leader] between him and his audience.”

“I've been trained in dancing and I used to be quite good, though I am a bit rusty right now. But I could probably brush up in a couple of months. The funny thing is that I actually took classes from Savion Glover, who worked in Happy Feet, when I was a kid. Isn't that wild? I was part of a selected group that was brought into New York from New Jersey (which is where I'm from) to study, every Saturday: ballet, jazz and tap. It was a musical comedy group.”

“When you think of diversity, George Duke fits that bill better than a lot of people. He's played a lot of straight-ahead jazz with people like Nancy Wilson and Cannonball Adderley; he's played a lot of fusion with his own groups, with Stanley Clarke; and, you know, he did the rock thing with Frank Zappa. He's written all kinds of big arrangements for people like Burt Bacharach. So, he's covered the board. He's still a great pianist.”

“Everything comes from one thing, everything comes from the Spirit. Jazz would not exist had it not been for gospel music, the blues would not exist had it not been for spiritual blues, which goes back to slave songs our fore fathers were singing while they were out in the field. So it's all one continuous growth from one group of people. Of course jazz now is played by various cultures and colors around the world. But the stimulus is One Voice.”