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.

If I think about the way I was drawn into the music, it was much more by recordings than by live performances.

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.

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.

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

I think the whole question of meaning in music is difficult enough even if you hear me playing live right now in the same room! What I mean and what you take from it may be two quite different things anyway.