We do have the power to kind of make this world what we want it to be. But we have to just choose to do it ourselves and not wait for someone else.

Someone like Donald Trump can't control the way I show love to my brother. He can't control the way I feel about my neighbors.

I feel like I'm musically free to do what I want.

Isaac Smith sounded like Curtis Fuller, Corey Hogan sounded like Sonny Rollins, Terrace Martin sounded like Jackie McLean. Already, at 13, 14, 15 years old.

So much good music has been looked over because of preconceived notions of genre.

I like living on that edge, musically. I like a bit of insecurity and that feeling of not really knowing what's going to happen.

American music comes from the same tree, but sometimes we get to these places in history where we forget where things come from, and they get compartmentalized.

My dad was very much a Pan-Africanist and instilled in me and my siblings a want for that knowledge.

Jazz is a part of me.

There's this notion that music has to be confined to some small, simple place to be popular, something I never believed.

When you're making music, you're creeping up on your heart and pouring it out into something.

As musicians, we have one of the greatest tools of bringing people together in music.

We've now got a whole generation of jazz musicians who have been brought up with hip-hop. We've grown up alongside rappers and DJs; we've heard this music all our life. We are as fluent in J Dilla and Dr Dre as we are in Mingus and Coltrane.

I never had a problem moving between jazz and hip-hop.

People like to compartmentalise music, especially African-American music, but it's really one thing. One very wide thing. I mean, it's like all those great records by Marvin Gaye and James Brown back in the day - there are tonnes of jazz musicians playing on them.

I started playing drums at three, then piano at five, then clarinet. But it wasn't till I picked up a saxophone aged 13 that I really got serious about music.

When I was younger, I'd be walking down the street and suddenly panic because I had a cool idea and no way of getting it down - I'd have to sing it all the way home. Now I can hum it into my phone.

I went to a music academy in Los Angeles, and some friends started playing me Ravel and Prokofiev, who I liked, but what really blew me away was 'The Rite of Spring.' That's what made me get interested in classical music for real and want to study it.

As a person who grew up in Los Angeles - that's a very diverse place - I've always felt like that diversity is a blessing. It's not a problem to be solved: it's a gift to be thankful for.

The idea of the beauty of diversity came from just growing up where I grew up. Los Angeles is a very big city - there's Little Ethiopia, Little Armenia, Little Tokyo, Chinatown, there's African-Americans, Latinos, Europeans.

In general, in my life, one of the coolest things that I've been able to do is to go to different places and meet different people and see how they view the world and to learn what their music is and what their language is, and the food they eat and everything. That idea of the beauty of the vastness of the world has just been my life.

Jazz is an interesting music. It's one of the few forms of music where everyone that's performing the music has a creative stake in the music. In jazz, everyone's improvising, and everyone's creating at the same time.

We're the only ones who can change our reality.

I think people psych themselves out before they listen to jazz a lot, thinking that they have to, like, put on a suit or something. That's not what it is.

People need to realize that even the greatest jazz musicians, when they listen to jazz, they're not like, analyzing it and deconstructing it - they're enjoying it. It's like listening to any other style of music. It's saying something to you, and you kind of just absorb it.

My mum liked gospel and R&B, Chaka Khan, and Whitney Houston.

All John Coltrane's records are amazing.

I started playing with this band, the Polyester Players. It was my introduction into funk. So I went and got a James Brown record. 'Black Caesar' is a film score, but it's so dope.

Music is an expression of life, who you are, and what you've been through.

Funk could very easily be called jazz, but you call it funk. Does that really matter? People dig that they associate themselves with certain genres, but the genres to me are made up things, like an imaginary world.

L.A. has always been hated on so much. I remember, the first time I went to New York, I was at jam sessions, and people would hear me and come up to me and be like, 'Oh wow, you're from L.A.? Really?'

I was hearing music in my head and trying to play it on the clarinet, but it didn't match.' Then, literally the first day, it did with the saxophone. I was like, 'Oh man, that's what I've been trying to do; this is what it's supposed to sound like.'

L.A. is a big city that has a lot of music in it but is not necessarily known for it. A lot of musicians got lost in that. You can make a living; you can gig a lot within the city and never get out of it. That was something that me and my friends, our generation, were afraid of happening to us.

There were two things I discovered when I toured with Snoop. One was that the band was all jazz musicians. The second was to instil in me a respect for other styles of music. From then on, whenever I played a new kind of music, I came with the same kind of open mind. What are they trying to do? What are they hearing? How do they see music?

Malcolm X's separatist ideas were situational. If you think about where African-Americans were in the 1940s and 1950s, we needed to step away because that force, which is still present but more subdued, was very in your face, and we needed to take a step back just to get some clarity.

The musicians I really looked up to as a kid were the ones who could play everything.

When I started saxophone, my dad took me to my uncle's church, and I started playing there, too. At its best, music serves a greater purpose, and that showed me a whole other side to spiritual jazz, one which you can hear in the music - the gospel and blues feel, the soul that's embedded into the more avant-garde records.

At the time of 'The Epic,' as a core band, we were all spending so much time apart making music for other people that by the time we got together - even though we grew up together and there's a special connection we have - it was like a rare privilege to come together.

One of the things I did learn from 'The Epic' was that we don't have to feel so much pressure to conform to set formats. A song doesn't have to be three minutes and 30 seconds.

When I was working on 'To Pimp A Butterfly' and 'DAMN.,' I'm really making music for Kendrick. It's a different mindset than when I'm making music for me. I'm trying to get into his head and figure out what he wants because it's his vision. That's what I expect from people when they're playing on my records.

We started 'Heaven And Earth' in 2016. That was probably the heaviest touring year of my whole life. We probably did almost 200 shows in 2016. We went into the studio, and I honestly didn't know what the album was going to be. So I just kind of started picking songs that I liked.

When I was about seventeen, I had a group called the Young Jazz Giants. We played all originals. When we would finish playing, people would be like, 'Oh my God, that was so nice, that was so great.' But Pops would never tell us we were the best. He would give it to us straight, like, 'You're out of tune. You're dropping beats.'

I think the reason why I see life as this never-ending struggle is because I imagine it having endless potential.

I don't want to live my life to necessarily overcome struggle, but when I am going to hit struggle throughout my life, I face it head on.

I was that kid who made his friends listen to the albums they didn't want to.

Music is this medium to express who I am and what I've been through and my thoughts and what my feelings on the world are. We're all on the planet together; I'm just using this medium to express how I see it.

As a musician, your instrument is almost predetermined. I had played drums, piano, clarinet, but when I heard Wayne Shorter play the saxophone, I knew that sound is what I wanted.

My third day playing saxophone, I was in front of a congregation. I still didn't know the names of all the notes. I was playing by ear, following along, but it was such an encouraging environment, I couldn't fail. It was all, 'Yeah baby, you sound real good' no matter what you play. It was a great way to learn.

I grew up with a sense of music being a very spiritual experience while playing in church and with parents who were socially aware, always teaching me to look beyond the obvious in understanding how the world works.

Music doesn't come out of you, it comes through you. You are almost like a messenger.