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.

I've never been one that thinks that the function of an instrument is to approach the purity of voice or the structure of a beautifully sung line.

Of course I knew the work of Roland Kirk and Harry Carney and the specific uses they would make of circular breathing, so I knew it was physically possible.

I'd met Roscoe in Europe quite a few times over the years, and we'd say hi and so on, but this was the first time we'd actually played together.

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

I've been to the studio several times, and it's not that I'm not happy with what I've got, but each time I come away, I feel that I've learned something that I want to work on.

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