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

The majority of my training was as a drummer, and drummers are basically accompanists.

When I perform, it's definitely about duration. I don't play any kind of time signature known to man.

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 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 lose all track of time on that level. I used to have a really good sense of time. I didn't need a clock to play, and I had a sense of when five, ten, twenty minutes had passed. Now I can only play with a clock.

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.