A kind of synthesis, but with some elements that perhaps you wouldn't have expected in advance. I always like that when that happens, when something comes that is more than the sum of the parts.

I've been to the studio several times, and it's not that I'm not happy with what I've got, but each time I come away, I feel that I've learned something that I want to work on.

Improvisation is a compositional method.

There are many of these apparent philosophical paradoxes or contradictions which don't concern me anymore.

I think it's a great document of John Stevens' originality. At that time he was already much more fully formed in his conception than I was. I was sort of struggling to keep up, and sometimes it's pretty obvious.

In a certain sense, aspects of my solo playing were developed in order to test the theory about how long particular elements could be, as parts of so-called free improvisations.

I think the solo playing, the decision to start playing solo, came out of having discovered what lay behind the doors that that technique opened for me.

You know, the whole philosophy of ad hoc combinations has its strengths and its weaknesses.

The argument we always used to use was that keeping records in the catalog was good for people that were coming new to the music, but I think that was talking over a ten year or fifteen year time span.

But I think the record will actually come from tapes that are not yet recorded.

It's not like, I don't know, if Madonna has a new record out, then everybody from Bangkok to Birmingham knows what its called and can buy it the same week. But our stuff is not in that mass market.

Certain kinds of speed, flow, intensity, density of attacks, density of interaction... Music that concentrates on those qualities is, I think, easier achieved by free improvisation between people sharing a common attitude, a common language.

To speak about notation as the only way that you can guarantee structure of course is already very suspect.

So in the sense that we were all dealing with that freer approach, yes, it was certainly one of the first contacts, perhaps the first contact, when Peter came that summer. So it's a very pivotal moment that is documented there.

Actually John, Paul Rutherford, and Trevor Watts, and several other rather well known English jazz musicians had got their training by joining the Air Force, which was a pretty standard way for people to get some kind of musical education in those days.

A kind of synthesis, but with some elements that perhaps you wouldn't have expected in advance. I always like that when that happens, when something comes that is more than the sum of the parts.

I think the voice does that perfectly adequately without being imitated by other instruments.

There's an institution here called the National Sound Archive, and there's a character who works there, Paul Wilson. He takes a very special interest in the history of the music and advised Martin Davidson of the existence of these tapes.

If I think about the way I was drawn into the music, it was much more by recordings than by live performances.

So I'm looking to the saxophone as a resource which has its own unique set of possibilities. I'm looking to exploit them and develop them and have the fullest range of possibilities of the saxophone be known.

I think the whole question of meaning in music is difficult enough even if you hear me playing live right now in the same room! What I mean and what you take from it may be two quite different things anyway.

Those early steps are very important in understanding the evolution. But in themselves, maybe now you need the later records to understand the significance of the earlier records!

In both 'Tigerman' and my first book, 'The Gone-Away World,' there are characters who never really get names. They're too fundamentally who they are to be bound by a name, so I couldn't give them one.

This isn't like cancer, where we don't know the solution. Financial planning is math. We have the answers, yet it's this huge cause of stress.

On a Tuesday, September 11th, 1973, we had the military coup in Chile that forced me to leave my country eventually. And then, on a Tuesday, September 11th, 2001, we had the terrorist attack in the United States.

I think my parents were really smart parents. I think they were, actually, pretty progressive for the time. The one thing that they really wanted me to know is what makes me tick, what I am about, how I approach life. And I think what my parents really wanted for me was for me to be who I am.

Waiter trainers claim that an investment in education pays off very quickly for restaurants.

Theater isn't there to provide answers. Only possibilities. I just ask the questions. But I believe hope comes from the fact that there is a potential for redemption. At the core, that's what matters in the theater I'm attracted to. Do we dare to hope? Do we allow ourselves to hope?

It's not about composition. It's the way you feel about how your objects should relate to each other. I've got lots of African statues and things, and the cleaner arranges them like soldiers, which drives me mad. So I have to rearrange them, and I must drive her mad, because I'm doing anarchy and she's doing military manoeuvres.

I'd love to play a lead in the theatre.

There are so many things you can learn about, but you'll miss the best things if you keep your eyes shut

I was an anomaly because my father was a Harvard man, and he came from a family of poor people.

If people could be as honest as animals, what a different world it would be.

I think people who don't believe in God are crazy. How can you say there is no God when you hear the birds singing these beautiful songs you didn't make?

I think ultimately I make people happy: Whether I'm doing the stage show, giving somebody a makeover, or designing clothing, the end goal is to make people smile.

We thought that whatever we wanted to do was right and good, simply because we were Americans, and we would succeed at it because we were Americans.

Writing is a little athletic for me. I get worked up a little bit when I do it. So I guess I'm a little bit like that composer conducting. There are a lot of things that go into what I do, but I think athletics really sort of shaped my ethic.

I am a very approachable and personable person, and I always put myself last. Whether it's family or friends, I always think about them first.

The government may change faces from time to time, but it's not like we fight wars for democracy - we fight wars for capitalism and for oil.

Superiority doing things a little better than anybody else can do them.

Working chest, delts, tris, and biceps works approximately 10% of your overall lean body mass. Working hard on deadlifts (bent legged, trap Bar, or sumo) or squatting (not necessarily at the same time) works more like 70% of your musculature at once and sends a strong message to your body to get better at growing now!

When I had a child, everyone was telling me that I was going to see the world through her eyes, and everything was going to get this nice gloss to it. I kept waiting for that to happen, and thought there was a real problem with me that it wasn't.

Seven presidents before him - Democrats and Republicans - tried to expand health care to all Americans. President Obama got it done.

The only thing that I'd rather own than Windows is English, because then I could charge you two hundred and forty-nine dollars for the right to speak it.

I just want to do as many utterly different parts as I can get. Variety teaches you to act, and it keeps you fresh in your approach.

You learn more doing than doing training.