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."

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.

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 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.

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

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