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.

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!

Nor should we exclude the possibility that Islamic terrorism may begin to make common cause with Western political extremists of the far Left and far Right.

In addressing a task, one almost always has several possible options, sometimes only a few, and they may all be practical and functional. But they lack the aesthetic aspect that raises it to architecture.

All enterprises that are entered into with indiscreet zeal may be pursued with great vigor at first, but are sure to collapse in the end.

Entropy theory is indeed a first attempt to deal with global form; but it has not been dealing with structure. All it says is that a large sum of elements may have properties not found in a smaller sample of them.

Journeys, like artists, are born and not made. A thousand differing circumstances contribute to them, few of them willed or determined by the will-whatever we may think.

The good parts of a book may be only something a writer is lucky enough to overhear or it may be the wreck of his whole damn life and one is as good as the other.

We're all like children. We may think we grow up, but to me, being grown up is death, stopping thinking, trying to find out things, going on learning.

That a peasant may become king does not render the kingdom democratic.

This means that to entrust to science - or to deliberate control according to scientific principles - more than scientific method can achieve may have deplorable effects.

It may be shocking to some people in this country to realize that, without meaning to do so, they hold views in common with Hitler when they preach discrimination against other religious, racial or economic groups.

A man may be in as just possession of truth as of a city, and yet be forced to surrender.

In relation to a writer, most readers believe in the Double Standard: they may be unfaithful to him as often as they like, but he must never, never be unfaithful to them.

Lives of great men oft remind us as we o'er their pages turn, That we too may leave behind us - Letters that we ought to burn.

Yes, and I can sit down on a white piece of paper and work because I don't believe too much into inspiration, only I'm waiting for inspiration, work and then inspiration may come. It's a little too easy to say that.

When families observe a later, deeper stage of cult involvement they may find it necessary to consider the involvement of a professional such as myself in an intervention effort.

Life is intrinsically, well, boring and dangerous at the same time. At any given moment the floor may open up. Of course, it almost never does; that's what makes it so boring.

Do not free a camel of the burden of his hump; you may be freeing him from being a camel.

Some gods may cross your path, but why should gods be beautiful? They could also be frightening.

A writer may tell me that he thinks man will ultimately become an ostrich. I cannot properly contradict him.

What I'm suggesting to you is that this could be a renaissance. We may be on the cusp of a future which could provide a tremendous leap forward for humanity.

People may take a job for more money, but they often leave it for more recognition.

No aquarium, no tank in a marine land, however spacious it may be, can begin to duplicate the conditions of the sea. And no dolphin who inhabits one of those aquariums or one of those marine lands can be considered normal.

As far as I know, only a small minority of mathematicians, even of those with Platonist views, accept the idea that there may be mathematical facts which are true but unknowable.

As a member of this court I am not justified in writing my private notions of policy into the Constitution, no matter how deeply I may cherish them or how mischievous I may deem their disregard.

But the Congress has made the determination that certain kinds of information can be protected even though the American people may want to have access to information.

It is reasonable to have perfection in our eye that we may always advance toward it, though we know it can never be reached.

Since love first made the breast an instrument Of fierce lamenting, by its flame my heart Was molten to a mirror, like a rose I pluck my breast apart, that I may hang This mirror in your sight.