I continued studying by myself in the field of jazz with my own technique of improvisation, walking bass lines, rhythms, all kinds of stuff, which I created for myself.

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

But I have returned to one hundred percent playing this year. I am fully back to playing full time.

There was the best teachers from the Czech Philharmonic, highly dedicated people, some of the best musicians in the world passing on the knowledge about the country, about the principles, and about the music.

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.

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.

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.