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.

When you add a period of 25 years between the playing and the listening, then the whole question of meaning gets very complicated.

My roots are in my record player.

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

In a certain sense, aspects of my solo playing were developed in order to test the theory about how long particular elements could be, as parts of so-called free improvisations.

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

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.