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.

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.

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

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

In the absence of that, I am happy to play solo, but I don't think there is any comparison.

Even if it is difficult playing with other people - sometimes it's great, sometimes it isn't, but that is kind of the point of it. It loses its point playing solo.