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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.
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 think the voice does that perfectly adequately without being imitated by other instruments.
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.
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.
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.
But I think the record will actually come from tapes that are not yet recorded.
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.
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