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.

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.

So I'm looking to the saxophone as a resource which has its own unique set of possibilities. I'm looking to exploit them and develop them and have the fullest range of possibilities of the saxophone be known.

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.

Improvisation is a compositional method.

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.

So in the sense that we were all dealing with that freer approach, yes, it was certainly one of the first contacts, perhaps the first contact, when Peter came that summer. So it's a very pivotal moment that is documented there.