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.

There are many of these apparent philosophical paradoxes or contradictions which don't concern me anymore.

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

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.

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.

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

The argument we always used to use was that keeping records in the catalog was good for people that were coming new to the music, but I think that was talking over a ten year or fifteen year time span.