After the war, once the bop revolution had taken hold, there were all kinds of young musicians, talented young musicians, who were ready for this fusion of classical and jazz.

His musical inspiration operates in a world uncluttered by conventional bar lines, conventional chord changes, and conventional ways of blowing or fingering a saxophone. Such practical 'limitations' did not even have to be overcome in his music; they somehow never existed for him. Despite this - or more accurately, because of this - his playing has a deep inner logic. Not an obvious surface logic, it is based on subtleties of reaction, subtleties of timing and color that are, I think, quite new to jazz - at least they have never appeared in so pure and direct a form.

As long as I'm healthy and can keep going that's what I'll do.

So this anchoring in some way, in some important way in the past without repeating the past, but on the basis of the past building something new: that is what is important.

I don't hate work, composing is not work for me, it's my pleasure; it's my life. So why should I stop? If something is pleasurable and exciting and rewarding, why should one stop?

After the war, once the bop revolution had taken hold, there were all kinds of young musicians, talented young musicians, who were ready for this fusion of classical and jazz.

And it is this sense that some of us have to contribute to the culture, to the society in ways that may hurt financially, so what? We do it because we are born to do it, we feel we have no other choice and so be it.