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.

Every once in a while I'll find a new way of playing something, it will suggest itself. But generally speaking, there's a set sonic potential, and that's in concert with a set instrumental technique.

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

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!

I started working with synthesizer players, and I had to find new instruments. I needed a more complex sound, so I went to a surplus place and got a bunch of hard plastic stuff and stainless steel stuff, and that stuff worked. So from that point on, from the 70s on, I've made instruments.

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.

When I was playing with synth players, I was still within a conceptual framework of playing music. When I started playing solo, I became much more aware of the acoustic phenomena that the instruments were producing.