Remarkable only the very best arrangers can get a sound like that from four horns

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.

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

I've been to the studio several times, and it's not that I'm not happy with what I've got, but each time I come away, I feel that I've learned something that I want to work on.

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.

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.