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.

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.

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.

We all listened to a lot of recorded music, especially American jazz, modern jazz, and that's where our studies were and our inspiration came from.

I've never been one that thinks that the function of an instrument is to approach the purity of voice or the structure of a beautifully sung line.

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.

I didn't get where I am today by being timid, young man.