Is that a thing?

Absolutely.

Absolutely.

I would much rather think emotionally what should happen next rather than, oh, this is an A, A, B, C, D, A, B form, you know, and oh, and I shouldn't go to the D section.

I don't care.

You'll see that very prevalent on this record that there is some adherence to form, traditional form, but a lot of time I just throw it out the window.

It's because I just feel that as a storyteller, we need to shift.

My understanding is you put a lot of it together and then turned it over to the band and the string quartet, or will you take me through that a little bit? I guess where I want to end up is I'm curious what surprised you about what the band and the string quartet did or added to the music that you weren't going to get at on your own?

You know, some of the lessons from those experiences, if anything comes to mind.

I think that what I've learned is the intention to communicate is the biggest talent definer.

In other words, you can know three chords, but if your intent, I mean, Mick Jagger is a perfect example.

As a matter of fact, I've worked with him and I've spent time in the studio with Mick.

Not only is an incredibly smart guy, very gracious man and understands a lot about music and a lot about films.

But he knows who he is, and he knows what he is good at, and he knows what he wants to do.

He loves doing what he does.

You know, I understand.

So after 15 plus years, what makes you want to go back and do a jazz album again?

I missed it.

Okay.

I hadn't done it.

I'll be honest with you.

There was a period when, you know, I was signed to Columbia Jazz and I turned in a record for them.

And it did okay.

people will get mad at me for that but yes i thought he was great on there so what were you going for on this overall because yes you brought the synchronizers out okay it was very electronic i loved i love experimental music so of course it caught my attention but what were you going for