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

I think the whole question of meaning in music is difficult enough even if you hear me playing live right now in the same room! What I mean and what you take from it may be two quite different things anyway.

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'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.

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.

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.