Whoever is playing with me, they participate in the arrangement; I learned from Craig Street to really pool the stories and the skill and the voices of everybody around you on the bandstand to build an arrangement in the moment.
There's a beautiful, kind of seductive trap in being autobiographical in our writing of songs: We just get stuck in our own syrup, and it's so personal that it almost can be embarrassing to the listener.
I've always been genuinely interested in the spirit world. I've seen things I will never talk about because I'd be a fool to. You can't lay out that world in words.
I'd listen to the radio, especially when my parents were out on house calls to pray for people - you know, shut-ins. Sometimes, if we were incredibly sneaky, we could do it at night when everyone was asleep.
'Salt' is like this snapshot in midair, an action shot. It's about my relationship with the church, the classical and choral music that I dealt with in school, and my new introduction to jazz. It's very hard for me to listen to from beginning to end, because I hear how lost I was.
Music is primal: when it's done without pretension, you can really feel the shape of someone's soul.
