I'd met Roscoe in Europe quite a few times over the years, and we'd say hi and so on, but this was the first time we'd actually played together.

In my mind these two instruments speak to me in different ways, and the solo stuff seems to be easier to do on the soprano.

I've been to the studio several times, and it's not that I'm not happy with what I've got, but each time I come away, I feel that I've learned something that I want to work on.

In a certain sense, aspects of my solo playing were developed in order to test the theory about how long particular elements could be, as parts of so-called free improvisations.

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.

Certain kinds of speed, flow, intensity, density of attacks, density of interaction... Music that concentrates on those qualities is, I think, easier achieved by free improvisation between people sharing a common attitude, a common language.

The argument we always used to use was that keeping records in the catalog was good for people that were coming new to the music, but I think that was talking over a ten year or fifteen year time span.