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.

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

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.

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 solo playing, the decision to start playing solo, came out of having discovered what lay behind the doors that that technique opened for me.

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

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.