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

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.

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.

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.

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.

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.

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