The micro-compositions are the pieces themselves, but the macro-composition is the whole set of them and how it moves from track to track and how the titles relate to one another, for example. Always when I do records like this of a selection of instrumental pieces - the titles, to me, are very important.

You can't do anything interesting with cutting-edge technology except not make it cutting-edge.

I set up situations that involve abandoning control and finding out what happens.

I had a lot of trouble with engineers, because their whole background is learning from a functional point of view, and then learning how to perform that function.

The artists of the past who impressed me were the ones who really focused their work.

I would like to see a future where artists think that they have a right to contemplate things like global warming.

I got an amazing 10-CD set, it's the music that Alan Lomax recorded in Haiti in 1936. And what's incredible is how fantastic the drummers are and how off-the-grid they are. The liveliness is astonishing; they're just totally alive, these recordings. It's very interesting, to me, to be reminded of that, that there was a time when things were not that tight.