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

Those early steps are very important in understanding the evolution. But in themselves, maybe now you need the later records to understand the significance of the earlier records!

I think the solo playing, the decision to start playing solo, came out of having discovered what lay behind the doors that that technique opened for me.

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.

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.

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

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.