I'm not much into current electronic stuff, what I think of as lounge electronics, mumbling electronics.

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

I don't research anything.

In fact its quite gratifying for me to see some of the people who really objected to this method of working now being quite so profligate in their use of it.

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.

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.

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.