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.

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

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.

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

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

Younger players in this music often turn out to be middle aged; it is not a young music.

Nowadays, I really like playing in studios.