You know, the whole philosophy of ad hoc combinations has its strengths and its weaknesses.

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.

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'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.

A kind of synthesis, but with some elements that perhaps you wouldn't have expected in advance. I always like that when that happens, when something comes that is more than the sum of the parts.

You know, the whole philosophy of ad hoc combinations has its strengths and its weaknesses.

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