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

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.

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.

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.

Improvisation is a compositional method.

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

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.