And when I met Cecil Taylor it was a complete transformation of musical identities. All the tenets that I had grown up with were thrown out the window.

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.

So, rap has that quality, for youth anyway; it's a kind of blues element. It's physical, almost gymnastic. It speaks to you organically. Rap grows out of what young people really are today, not only black youth, but white - everybody.

To some degree, yeah, because I have to play a certain number of originals that might be considered avant-garde material. I realize though, that only a few people in the audience actually know what that music is, or understand it.

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.

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

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