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.

Improvisation is a compositional method.

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.

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

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

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.

So I'm looking to the saxophone as a resource which has its own unique set of possibilities. I'm looking to exploit them and develop them and have the fullest range of possibilities of the saxophone be known.