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 what starts is ad hoc and you never know where it's going to lead, so it's important to keep an open mind about those things.

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.

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.

You know, the whole philosophy of ad hoc combinations has its strengths and its weaknesses.

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

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.