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.

There are many of these apparent philosophical paradoxes or contradictions which don't concern me anymore.

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.

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.

A kind of synthesis, but with some elements that perhaps you wouldn't have expected in advance. I always like that when that happens, when something comes that is more than the sum of the parts.

When you add a period of 25 years between the playing and the listening, then the whole question of meaning gets very complicated.

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