In The Police, in a trio situation - which I've come back to now - it's just so wide open that it does actually provide this arena where you can play with a certain freedom.
From Andy Summers
I spend a lot of time working as a painter and in my studio I go from upstairs where I paint to downstairs where I play and record, so I get this thing crossing over.
I'm just trying to avoid any sort of generic kind of music - I don't want to do generic jazz or fusion.
I'm better for it and I prefer to keep things simple and see what sounds I can get out of my head and hands rather than relying on a sound that someone else created.
I actually think I play better now than I've ever played.
There was a period when I'd just come out of college where I'd been playing classical guitar and I suddenly realised that it wasn't what I wanted to do with the rest of my life.
Actually, I think my hands are in the best shape they've ever been in terms of what I can do.
It accumulates over the years and I've led so many bands of my own now and forced myself into new situations... You would hope that you play better and better - until you just get too feeble to do it anymore.
I like to play with someone who can cover a lot of ground and someone with whom you can discuss the language at a reasonable level; otherwise it gets a bit frustrating.
It's hard to avoid the past but one goes forward.
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