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

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

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.

So what starts is ad hoc and you never know where it's going to lead, so it's important to keep an open mind about those things.

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

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!

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.