"Reading this feels like going down a rapid, the way it flows. It’s so freed of expectations in a way that makes it very refreshing. It’s almost like jazz, full of nooks and crannies, sort of unpredictable but beautiful. There’s a fellow comedian, Jaqueline Novak, whose work I really like, and watching her perform a set I think, ‘Oh, she’s kind of the Clarice Lispector of the comedy scene.’"

"I first met Chris Bear when I was fifteen. We were both at a jazz programme and he was the one person there that was frighteningly talented, just ridiculously talented, I was very intimidated by him. “He introduced me to this and it was one of the first records the two of us bonded over. I didn’t see him again for a few years, but this record was something I kept with me throughout the last few years of high school and I always remembered this amazing drummer who introduced me to it. “That first meeting with Chris Bear has been influential in my music and my life. We were all trying to be cool kids, trading on stuff that we knew and he had this record. There’s a wildness and a subtle funkiness to it, it’s functioning within the bounds of what the genre is but it’s pushing these tiny gradations of feeling. That’s what makes really good jazz really great, it sucks you into these funny little changes in the way that people are playing. It’s so human you feel like you’re in it, like you’re the person making it happen, it’s very physical. “The playing on this is incredibly fiery, Elvin Jones is a classic player and I think Chris Bear’s drumming comes a little bit from his playing at times, but this record is a little bit outside of pure jazz. I feel in our band, and in Chris Bear’s playing, he’s always had that subtlety of feeling, you can play within any one genre, but there’s this lightness of touch and a really subtle dynamic going on. “It takes knowing the right thing to find what’s good in jazz, it’s got a language and a history and it’s easy to hear terrible shit too, I get that. I remember riding around L.A in the back of someone’s car getting really stoned and listening to the whole record was like seeing colours, it was really intense and overwhelming"

"Fred Hersch is a hugely respected jazz pianist who was diagnosed HIV-positive in the 80s. He didn't talk about it publicly until the 90s. Then in 2008, he got very ill, and fell into a coma, which he stayed in for two months. When he came round he'd lost all his muscle memory, which is obviously devastating when you're a jazz pianist. So he had to learn to play again. This record was only made three years later, unbelievably.

I find this album very emotional. It's partly the music, which is very beautiful, but it's partly about what he went through. Having had a heavy hospital experience myself, I know how that can affect you. I managed to get a contact for Fred after he made this, and I wrote to him to tell him how much it had moved me. We wrote to each other for a while after that, which was really special."

"I only heard this for the first time about six years ago. It was just like this culmination of melody… like the way he… Why do I love it? I don't know. What I love about his music is the playfulness, the way he plays with words, his sense of humour. There's no clear obvious harmony, no clear obvious arrangements. It's very individual: it doesn't sound like a particular style. It has, actually, a little bit of a jazz style, because he was coming out of jazz: that was his love. It's like he's this poet who's finding the music that will fit for each song. It's kind of how I approach my music, too. You're not looking at it like, "This song is going to be this kind of song"; it's more like: "This song is about this and so maybe I'll make these sounds with it." It's a much more playful approach to music. I like that. I identify with that a lot."

"When I listen to jazz, it's usually the piano guys – Bill Evans and Thelonious Monk. I'll put this on in any context: on tour when I'm sleeping, at home when I'm cooking, after a gig. When Joey comes offstage, he wants to play something loud and continue to rock, whereas I need to decompress a little more. So, depending on who gets to the music player first, it's either AC/DC or Bill Evans."