Rudresh Mahanthappa has the kind of biography that suggests he might be an intimidating and serious person to talk to. He's the Director of Jazz at Princeton University where he teaches improvisation and directs small groups. He has been listed frequently in the Critics' Poll of Down Beat magazine. He studied music in India and brought that exploration into his own style of hybridized jazz (done in part for a Guggenheim Fellowship), an experience that he describes "as a way of getting to know what it means to be Indian American, it was a way of defining where I am as a person and it's almost like the music was a byproduct."

Mahanthappa started playing alto saxophone as a young boy, first drawn to the more contemporary sounds of David Sandborn, Grover Washington, Jr, Bob Mintzer and Michael Brecker. In fact, here he reminisces about hearing saxophone players in popular songs on the radio (Huey Lewis, Bruce Springsteen, Pink Floyd) when he was growing up. Eventually he heard a Charlie Parker record, which reoriented his playing. Later, he integrated his Carnatic concept as well. All three of those streams - the early influence of newer players, the bebop influence from Bird, and the Indian influence - are still evident in his approach.

Rudresh has released more than 15 records as a solo recording artist, and another 30 albums as a sideman or collaborator. His new record, Hero Trio features bassist Francois Moutin and drummer Rudy Royston in a piano-less saxophone trio that leaves plenty of space for the unit to move together. While many of his projects have relied on original material, this record is made of interpretations, and he cast a wide net, recording material by Charlie Parker, John Coltrane, Stevie Wonder, June Carter Cash, Keith Jarrett, Ornette Coleman and others.

So yes, he's serious about what he does, what he thinks about and what he plays. But he's also funny, and fun to talk to. Here we talk about his early development, the journey through music schools, cruise ships and merengue bands that ultimately led him to New York, exploring one's personal identity through music, teaching jazz in a non conservatory environment, Sesame Street, and why "just because you're improvising doesn't mean you're playing jazz".

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