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.

Black music has become a commercial commodity. Live performances are not so accessible as they were previously. It use to be possible to go to the bar on the corner and hear music. It was available for a fifteen cent beer.

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.

Music and culture are intrinsically improvisational, existential.

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.

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