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.

All the tenets that I had grown up with were thrown out the window.

I find that here in the States, audiences are generally less knowledgeable, from the cognitive point of view, though they are emotionally more receptive.

It was a particularly interesting and exciting time, and the European political and artistic establishment was turned on by the Civil Rights Movement and the artistic revolution that was becoming a part of jazz.

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.

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.