I can't see any separation between my music and my life. I play pretty much race music: its about what happened to my father, to me, and what can happen to my kids.

So, I was just a young guy, maybe with an idea, and Cecil Taylor, himself a rebel, would take a chance on a guy like me. It turned out to be a very symbiotic partnership. I learned a lot from him.

Negro music and culture are intrinsically improvisational, existential. Nothing is sacred. After a decade, a musical idea, no matter how innovative, is threatened.

You get a show where people are jumping up and dancing, but it's not a critical event in the sense of profound catharsis. Essentially it's celebratory.

A whole generation of young whites have involved themselves with traditional Negro music.

Yes, the audience is so important to Negro music, especially the element of call and response.

In America, for a brief time, people who followed John Coltrane were studied and considered important, but it didn't last long. The result is that the kind of music I played in the '60's is completely dismissed in this country as a wrong turn, a suicidal effort.