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.

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!

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.

I'd met Roscoe in Europe quite a few times over the years, and we'd say hi and so on, but this was the first time we'd actually played together.

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.

You know, the whole philosophy of ad hoc combinations has its strengths and its weaknesses.

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.