"Someone told me that the middle of the road is the only place you definitely get run over, and this is very obvious, housewife soul… you can’t say that any more, can you? But I just like how it’s created. I get really into the fact that the band used to just bang out these songs, they’d put down these drum tracks then Al Green would just come in at the last minute and sing on top of it all. They’re so patterned, cyclical, and he just it off. It’s a load of faux, pre-religious romantic nonsense, but really well done. They were kind of cynical, I reckon. ‘Let’s knock a few of these out in a day and we’re on!’ They’re kind of simple songs when you look back at it, there’s a lack of depth to Al Green, but he’s got such a good voice, and such a good drummer. And age has made it sound cooler, but the core isn’t cool at all."

"I bought this at university, mainly because of the cover art, I admit. I had a very small record collection then. You did in those days, and because you didn't have a lot, you'd play every record again and again. My dad, Tom, was a bandleader, so there was a lot of jazz in the house. He liked people like Count Basie and Woody Herman, but he stopped at Coltrane. He found the modernism of it difficult, but I loved it. It felt like a big thing for me, when I was a precocious teenager. The first jazz I had found for myself!

This is a real fork-in-the-road album for jazz, too, from 1958, a proper boundary between hard bop and the future. The three-part horn arrangements are something I tried to emulate on the first track of [Everything But The Girl's 1984 album] Each And Every One, too – in my own way of course. The album was only his second, and him early on as a session leader. There's so much life in it, and so many ideas. 
"

"My son Ben went to Elliot School, which is quite famous for producing musicians. The first one that I knew was Kieran Hebden, who makes music as Four Tet. There was a culture at one point that was encouraging people. Ben was in the same class as the xx’s Romy [Madley-Croft] and he knew Jamie [Smith] quite well, and I knew his parents. We even went to their holiday house in Norfolk. The xx were the shy ones, they were like a little gang. Jamie was the most outgoing one, and he was pretty shy. I knew quite a lot about how that record happened, that they tried first with a producer and then did it in a house studio. We were living just down the road from where that was going on."