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.

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.

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.

Those early steps are very important in understanding the evolution. But in themselves, maybe now you need the later records to understand the significance of the earlier records!

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.

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.