The problem is that I don't want to add another record to the world that is not necessary to be published, except to make some business. There has to be a musical reason.

In 1972, I got my first electric bass and started playing the kind of instrument I play now. I found that the majority of musicians couldn't bear that. They are not used to listening to the bass because they think the bass is in the background to support them.

It's better to finish at the peak or soon after it, than to wait until the audience notices a decline.

When I think back now to the recording sessions, there is more improvisation than one hears. It's an ideal combination of arrangements and improvisation. Only a few people are able to listen and say what is composed and what is improvised. It's a unit.

When I started to pick up the bass, it was purely by random chance.

I realized pretty soon that I have to do more than just play bass in the background way. So, I developed a kind of playing which only a handful of musicians accepted.

I like to create the music I hear in my interior. As a conductor, you have the ability to squeeze the sounds and interpretation you asked for from 50 to 80 people.