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.

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.

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

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.

I think playing solo is a second rate activity, really. For me, playing is about playing with other people.

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.