I didn't get where I am today by being timid, young man.

We all listened to a lot of recorded music, especially American jazz, modern jazz, and that's where our studies were and our inspiration came from.

To speak about notation as the only way that you can guarantee structure of course is already very suspect.

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.

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

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.

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.