How would you describe New Orleans in 1966 - the year you were born - and were there still traces of jazz music from the beginning of the 20th century?

There has always been a great scene in New Orleans. What I know of 1966, is that there were some great players doing a lot of things. Ellis Marsalis was there playing piano, Nat Perrilot on tenor sax, James Black on drums, Alvin Battiste on clarinet, Walter Payton (father of Nicholas) on bass, etc... The tradition was still strong, as it is today. Plenty of traditional jazz and second line music. That tradition will be here as long as there is jazz, I suppose.

Why is your flute work so little known? I've only recorded flute on a handful of records, and I haven't recorded anything with it in years. Elvin Jones actually got me playing it more regularly, and I got a lot of work because of it. I'm actually a much better clarinet player; I've done a few high profile record dates with it (Tom Harrell, Dave Douglas), and I used it on one of my cds, but I plan on using it much more in the future, God willing.

Why is the flute so rarely used in jazz? I once saw a concert with Wynton Marsalis conducting an orchestra in which the only white musician was Ted Nash the only flute player in the orchestra. Your comments please.

It is used in New York a lot in more Latin influenced jazz. I think the flute and clarinet have both been steriotyped (Latin and New Orleans music...). Then there are cats like Kent Jordan (flute), Alvin Battiste and Eddie Daniels... Don Byron also (clarinet), who are on the cutting edge when they let loose.

 Your mother was a jazz singer and you come from a family of musicians. Was that how you started in jazz?

Music was all around me when I was coming up. My parents got me interested in classical music (Opera; my mom eventually turned jazz singer). But it was my brother who actually got me intersted in jazz. He is a year older than me and plays trumpet-though not seriously anymore. I also have a sister who plays flute.

It was in the 90’s that you showed more interest in jazz - how was before your experience with funk music with Allen Touissant and the Neville Brothers? I enjoyed playing with the Nevilles and Mr Toussaint-but even then I had my heart set on going to New York and playing jazz

Your favorite CD in your discography? Why?

It is impossible for me to pick just one (or even within one style!), but for today I will say maybe John Coltrane's "A Love Supreme". Why? It is an incredible musical statement. I also appreciate the honesty of his religious statement; even though I don't agree theologically with what he is saying on most(if not all) of his later recordings-I believe Jesus is the only way (Isaiah 53)... which may sound narrow and offensive to some, but I stand by that. Still, it took a lot of guts to put his faith forward the way he did; and I am still very inspired by it.

Your future plans for new recordings? God willing, sooner than later I will do a new solo CD.

Your opinion of the Portuguese public for whom you’ve performed many times.

Very enthusiastic and fun to play for.

Which are the differences of acceptance of jazz in the USA and in Europe?

Jazz has always been more appreciated in Europe, from what I can see; although that could change, as more young people are getting educated about the music.

Your definition of swing One of the many groove styles of 20th century American music designed to dance to. The technical aspects of swing everyone knows. But I feel that if it doesn't make you want to move at all (tap your finger,bob your head etc), it doesn't swing. Now-there is a lot of great music... even jazz, that doesn't necessarily swing. Overall, as far as any music goes regardless of the style, once it can't be felt emotionally, than it doesn't leave itself for much... except for analysis from other musicians looking for something to work on. Just my opinion.

Which are the differences requested from a tenor when playing in combo or in a Big Band such as with Steve Coleman or Jason Lindner with whom you’ve played?

They are all different-even between small groups or big bands. Ex: quartet with Andrew Hill or Eric Reed. Completely different concepts. I have to be flexible and ready for everything and anything.

What memories do you have of the ‘Jazz Machine’ and of Master Elvin Jones with whom you’ve played? Fear! (It was my first big gig and I had a lot to learn.) But seriously, Elvin's level of professionalism inspires me to this day. Everyday he came to PLAY, and if you were half stepping, you would get run over.

Your opinion about contemporary free jazz revival.

Like all styles, some good and some bad.

The repertoire of a jazzman should always include standards?

That's up to each individual, but standards occationally do give an audience a good point of reference to understanding your music. That being said, sometimes I play them;sometimes I don't.

Your favorite standard.

I like the songs by jazz composers more than the old show tunes. But, if I had to pick a showtune right now I would say "The Very Thought of You".

Your favorite jazz composer.

Right now, I would have to say either Wayne Shorter, or Andrew Hill. But I've been influenced by many others.

Nowadays there are no bad jazz musicians but on the other hand there are no geniuses like before - is this the reason for such a long stagnation period that we are going through? Trane died in 1967 - what comes next?

I believe the geniouses are here; the support to make the music go to the next level is not. Back when Trane and them were coming up, there were places one could play for a month at a time with the same group. Trane recorded 40 some records in an 11 year period-most people today do a record every 1 1/2 year, if they are lucky. The way it is today, it is hard to get things really going.

The panorama of jazz clubs in Manhattan nowadays. Should “Smalls” be missed?

 Smalls was a great place for some people to develop music. A lot of good music came out of that. I don't know if everyone will miss it, but I do. And the way the scene is now, it is sad when any club goes.

Where did you find the main influences to establish your style and tenor?

Too many to list, but here are some: Wayne, Joe H, Joe Lovano, Trane, Newk, Ben Webster, Branford, many of my peers, such as Mark Turner and Chris Potter.

As a good composer such as yourself you show preference for slow times and melancholy themes. One of the exceptions is the remarkable ‘Serendipity’ on the Impulse CD. Any comments?

I don't like to write many 'burners', because I don't like to just play patterns. I find it easier to think when I'm playing slow to medium up. That's just me.