They [the teachers at European conservatories] taught us because they wanted to pass the knowledge on and educate young musicians. It was not because they had to teach because they failed as musicians. There is a huge difference in the reasons why someone is teaching and what they can offer and what they cannot offer.

So the whole basis for jazz music is based on the fact that the bass player could not play his instrument.

There is no roles. No one is keeping any roles. The drummer is also answering everybody and everything. So it is a constant conversation and communication between musicians on an extremely high level with extremely valuable material, motifs, and melodies.

I actually met Chick Corea in New York, where I was staying with a bass player friend.

I am a Slavic musician and it is deeply inside of me.

So our ears got used to listening to jazz in the place that it was that the bass player could not play. No one really realized it and really addressed it until the bass players who could play their instrument came along and started doing something with it.

The money in the schools overpowers the principles of the purpose.