Nowadays, I really like playing in studios.

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.

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

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

Nowadays, I really like playing in studios.

Personally, I've found one of the more stimulating ways of playing in recent times has been to kind of move outside the free improvised area and work with people who are probably improvisers but they have a particular way of working.

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.