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

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.

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

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.

Actually John, Paul Rutherford, and Trevor Watts, and several other rather well known English jazz musicians had got their training by joining the Air Force, which was a pretty standard way for people to get some kind of musical education in those days.

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.

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!