Of course when people are as talented as Jim O'Rourke or Gene Coleman, pretty soon you know that they're going to be part of the bigger scene anyway.

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.

Of course when people are as talented as Jim O'Rourke or Gene Coleman, pretty soon you know that they're going to be part of the bigger scene anyway.

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.

I'd met Roscoe in Europe quite a few times over the years, and we'd say hi and so on, but this was the first time we'd actually played together.

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

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