I don't really need new stuff anyway. I like to make big stuff, and it's too expensive to travel with. So I have my refined set that works well, and I'm pretty much set with that.

I really like accompanying. I like working with vocalists, I've worked with a lot of poets.

I don't really need new stuff anyway. I like to make big stuff, and it's too expensive to travel with. So I have my refined set that works well, and I'm pretty much set with that.

You have to be loose enough so that when you listen to what's coming, you can follow it. In that sense I am improvising, but I don't think I'm experimenting. I have a problem with the whole term "experimental music."

In L.A., I called every scrap yard and surplus place that was listed, about 50 or 60 places, and only at one of them did the owner get intrigued and let me go around the yard to find stuff. Because the insurance regulations are such that you can't go into the places anymore.

I'd been collecting different ethnic instruments here and there, and then I started making little bell type stuff, looking for weird little sound toys.

I don't want to see an experiment. Experiment at home - when you show up on stage, I want to see a result. I think a lot of improvisers, you'll see them some nights and they just stink, and they go, "Well, we're just improvising." Like that's a license to have a shitty night!