There's another thing that you don't want to take for granted, and that's the reality of there being an audience there each night. It's pretty amazing that that can happen around the world.

When you're making the record, you're not thinking about an audience, but you still need them and you want them.

I don't love CDs more than anything else, but I was just playing around with the idea that they could be something you're momentarily keeping hold of as everything is passing by.

It's an example of when three people think something's brilliant and one thinks it's terrible. I suppose that's what improvising can be like because you just don't really know how anyone's feeling about it. You come off stage like, "Was that good?"

It's not like that because the improvisation makes it automatically democratic. No one's leading anything. I didn't have to worry about anyone feeling involved. It was just the most natural, easy process of making music.

If you can do something that doesn't rely on a major melody but still sounds immediate rather than being obtuse and devoid of anything to catch onto, that's great.

For me, the audience is the most important thing in the whole chain, so finding out how they respond to things is a learning curve at all times.