I think the voice does that perfectly adequately without being imitated by other instruments.

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

Of course I knew the work of Roland Kirk and Harry Carney and the specific uses they would make of circular breathing, so I knew it was physically possible.

So what starts is ad hoc and you never know where it's going to lead, so it's important to keep an open mind about those things.

Actually John, Paul Rutherford, and Trevor Watts, and several other rather well known English jazz musicians had got their training by joining the Air Force, which was a pretty standard way for people to get some kind of musical education in those days.

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

Of course when people are as talented as Jim O'Rourke or Gene Coleman, pretty soon you know that they're going to be part of the bigger scene anyway.