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.

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.

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.

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

We all listened to a lot of recorded music, especially American jazz, modern jazz, and that's where our studies were and our inspiration came from.

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.

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.