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

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

Remarkable only the very best arrangers can get a sound like that from four horns

In my mind these two instruments speak to me in different ways, and the solo stuff seems to be easier to do on the soprano.

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!

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

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.