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.

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

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.

When you add a period of 25 years between the playing and the listening, then the whole question of meaning gets very complicated.

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.

I think the solo playing, the decision to start playing solo, came out of having discovered what lay behind the doors that that technique opened for me.

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.