There are many of these apparent philosophical paradoxes or contradictions which don't concern me anymore.

So what starts is ad hoc and you never know where it's going to lead, so it's important to keep an open mind about those things.

I think the voice does that perfectly adequately without being imitated by other instruments.

If I think about the way I was drawn into the music, it was much more by recordings than by live performances.

Of course I knew the work of Roland Kirk and Harry Carney and the specific uses they would make of circular breathing, so I knew it was physically possible.

So in the sense that we were all dealing with that freer approach, yes, it was certainly one of the first contacts, perhaps the first contact, when Peter came that summer. So it's a very pivotal moment that is documented there.

Remarkable only the very best arrangers can get a sound like that from four horns