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!

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.

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!

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.

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

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.

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.