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

A lot of the people that I play with are electronic-based, so there isn't a direct physical analogue between what they're doing and the sound you're hearing.

Some of the stainless steel discs that I play, I cut myself from pieces of stainless steel that I found. I don't make as many as I used to, because you can't get into surplus and scrap yards as easily anymore.

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!

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."

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.

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