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

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

For me, Company is still the best way for me to work.

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.

Personally, I've found that the kind of thing that I like is going into somebody else's area and not playing their music but doing whatever I do in their area.

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