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

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

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.

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

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.

There's an institution here called the National Sound Archive, and there's a character who works there, Paul Wilson. He takes a very special interest in the history of the music and advised Martin Davidson of the existence of these tapes.

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.