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.

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.

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

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

Undeniably, the audience for improvisation, good or bad, active or passive, sympathetic or hostile, has a power that no other audience has. It can affect the creation of that which is being witnessed. And perhaps because of that possibility the audience for improvisation has a degree of intimacy with the music that is not achieved in any other situation.

I like duos with percussionists. I like the songs that percussionists sing.

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.