The problem with improvisation is, of course, that everyone just slips into their comfort zone and does sort of the easy thing to do, the most obvious thing to do with your instrument.

It infuriates me that stuff from the Internet routinely doesn't include all the credits. Because as soon as I listen to something, if I like it, I want to know, "Who's the bass player?" "Who did that?" "Who's the engineer on this?

I don't live in the past at all; I'm always wanting to do something new. I make a point of constantly trying to forget and get things out of my mind.

Human development thus far has been fueled and guided by the feeling that things could be, and are probably going to be, better.

In fact, quite a lot of what I do has to do with sound texture, and, you can't notate that. You can't notate the sound of "St. Elmo's Fire." There's no way of writing that down. That's because musical notation arose at a time when sound textures were limited. If you said violins and woodwind that defined the sound texture; if I say synthesizer and guitar it means nothing - you're talking about 28,000 variables.

I describe things in terms of body movements. I dance a bit to describe what sort of movement it ought to make, and that's a good way of talking to musicians. Particularly bass players.

It's easy to forget that your best work is done when your attention is fully engaged.