It's so easy to get used to playing a role. Then all of the sudden when you're tossed out of it, it's almost like you have to remember how to act again!
I basically love classical music. I love a lot of musicians playing together and the whole culture of that, whether it's Indian or it's Western.
Why do we take pleasure in gruesome death, neatly packaged as a puzzle to which we may find a satisfactory solution through clues - or if we are not clever enough, have it revealed by the all-powerful tale-teller at the end of the book? It is something to do with being reduced to, and comforted by, playing by the rules.
If the role is challenging enough, I don't see why I shouldn't play an older man or a father figure. It is not about playing what you are in real life. We are called actors for a reason!
It's much like playing jazz, flying. It's multitasking in real time. You have a number of instruments that alone won't tell you exactly what the airplane is doing but together give you a picture of everything that's going on.
I consider myself very fortunate. I mean, I think there's that old saying, 'Where there's a will, there's a way,' and I just have such a passion for jazz music and playing the piano that I just find a way to make it work, so to speak. Fortunately, I have so far.
I really want to bring ensemble playing back to the forefront - not just for me, but for everyone in jazz. When you have a group, a true co-op group, you can really heighten the possibilities of all the treasures of jazz.
I do have a way of playing piano where it's very melodic and emotional, but then often it's great if whoever's singing doesn't sing exactly what's in the piano melody, but maybe it's connected in some way.
But I'd say recording and playing on stage are two completely different things. Being up there in front of all those people is like jumping off a cliff into icy water. The recording process is a totally different energy.