Improvised music involves a lot of intuition and I like developing intuition.

It's like learning a language; you can't speak a language fluently until you find out who you are in that language, and that has as much to do with your body as it does with vocabulary and grammar.

I don't know if I'm striving for anything that I can put into words.

...what's always exciting is when you hear something amazing when you least expected it. Every now and then I'll hear something for the first time that forces me to re-examine my frames of reference, and re-consider musical parameters in general, and that's wonderful . And what's even more wonderful in a way, is when you hear something that you know, and already think you have an opinion about, and then suddenly discover that it isn't what you thought it was, but something quite different, which makes it just as surprising as if you'd never heard it before. That's REALLY great!

I remember playing football dressed in peculiar costumes with some friends in France and laughing so hard we couldn't even stand up, let alone kick the ball.

The totality of a record is usually beyond ones ability to imagine when you start working on it, but the component parts are, usually, fairly clear one way or another.

As an improviser I'm now pretty comfortable with trios, so I'm thinking of working up to quartets.