Improvisation is a compositional method.

My roots are in my record player.

There are many of these apparent philosophical paradoxes or contradictions which don't concern me anymore.

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.

There's an institution here called the National Sound Archive, and there's a character who works there, Paul Wilson. He takes a very special interest in the history of the music and advised Martin Davidson of the existence of these tapes.

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.

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.