You know that in order to copyright material somebody has to write it down for you. Any piece of recorded material has to be scored in order for it to be copyrighted. I've seen the scores of my things and they don't resemble the music in any way. If you give them to somebody who has never heard the music and say, "What does this sound like to you?" they'll play you something that has no relationship with the music it derives from. Notation simply isn't adequate.

It's nice, I think, when people use your music for things you didn't think of.

I think that there's something that I still like about the fact of a package, like the latest report from somebody. "Okay, this is what they're up to now; this is what they're doing; who's working with them?

The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one. A responsible designer might try to overcome this limitation - probably the engineers at Marshall tried, too. But that sound became the sound of, among others, Jimi Hendrix. That sound is called electric guitar.

Being an artist is a job for life.

I take sounds and change them into words.

I think the other thing that's important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time. In fact I often say that the biggest difference between classical music and everything else is that classical musicians sometimes shut up because they're told to, because the score tells them to. Whereas any music that's sort of based on folk or jazz, everybody plays all the time.