So what starts is ad hoc and you never know where it’s going to lead, so it’s important to keep an open mind about those things.

Remarkable only the very best arrangers can get a sound like that from four horns.

I didn’t get where I am today by being timid, young man.

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.

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’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.

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

I’ve never been one that thinks that the function of an instrument is to approach the purity of voice or the structure of a beautifully sung line.

We all listened to a lot of recorded music, especially American jazz, modern jazz, and that’s where our studies were and our inspiration came from.

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.