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 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!

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

I've always been interested in finding out more about the properties of acoustics.

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.