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.

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.

Actually John, Paul Rutherford, and Trevor Watts, and several other rather well known English jazz musicians had got their training by joining the Air Force, which was a pretty standard way for people to get some kind of musical education in those days.

So in the sense that we were all dealing with that freer approach, yes, it was certainly one of the first contacts, perhaps the first contact, when Peter came that summer. So it's a very pivotal moment that is documented there.

I didn't get where I am today by being timid, young man.

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

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