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.

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.

Diversity is its most consistent characteristic....The characteristics of freely improvised music are established only by the sonic-musical identity of the person or persons playing it.

If you could only play a record once, imagine the intensity you’d have to bring into the listening.

Free improvisation, in addition to being a highly skilled musical craft, is open to use by almost anyone-beginners, children, and non-musicians. The skill and intellect required is whatever is available. Its accessibility to the performer is, in fact, something which appears to offend both its supporters and detractors....And as regards method, the improvisor employs the oldest in music-making...Mankind's first musical performance couldn't have been anything other than a free improvisation.

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 don't research anything.