I've never been one that thinks that the function of an instrument is to approach the purity of voice or the structure of a beautifully sung line.

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

To speak about notation as the only way that you can guarantee structure of course is already very suspect.

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.

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

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.

The argument we always used to use was that keeping records in the catalog was good for people that were coming new to the music, but I think that was talking over a ten year or fifteen year time span.