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It keeps me in touch with younger musicians who are constantly saying, 'Have you heard this new artist, or this new guitar player?' It keeps you reaching.

I felt like I was a teacher. But nowadays, I am as much a student of his. He writes a lot of what we play.

Certainly one of the more common experiences in the jazz field is discovering someone new. Improvising musicians are capable of being musical travelers, voyagers. We want to join in on whatever we hear. There is a freedom to wander the musical landscape.

I've made more than 50 records with a wide range of music. I've often veered to check something out.

It hasn't been hard getting nominated, but winning it is another thing. The competition is tough.

I grew up in a farm town in Indiana. In the early years I played by myself, because there were no other musicians around.

I was surprised when I finally moved to Boston and the East Coast, to discover that there weren't that many vibraphone players around. And I was the only one playing with four mallets.

I was a big fan of Jim Hall as well. I liked his comping style, his accompanying. And that he played, generally, four note chords, the top four strings of the guitar.

But if you listen to great piano players, both classical and jazz, there's a huge range of dynamics and colors and emotional expression that's possible with the instrument.

I know of musicians who have played together for decades who hate each other. The Modern Jazz Quartet for one.

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