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

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.

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.

My roots are in my record player.

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

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.