I wouldn't want to be ideological about it but I think of it as being the best way to approach this kind of playing. I don't think it works in other music, other kinds of playing.

But that methodology where players are pitted against other unfamiliar players has been so widely adapted now that anybody plays with everybody.

Charlie Appleyard can be anybody; but Ive used him sometimes in chat pieces, and these are all chat pieces about the history of Charlie Appleyard.

Playing music is not really susceptible to theory much. Circumstances affect it so much.

I have always been attracted to the cottage industry side of this business.

Solo concerts are murder, I find; I don't like doing them.

Personally, I've found one of the more stimulating ways of playing in recent times has been to kind of move outside the free improvised area and work with people who are probably improvisers but they have a particular way of working.