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.
From Evan Parker
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.
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 the voice does that perfectly adequately without being imitated by other instruments.
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.
But I think the record will actually come from tapes that are not yet recorded.
You know, the whole philosophy of ad hoc combinations has its strengths and its weaknesses.
To speak about notation as the only way that you can guarantee structure of course is already very suspect.
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.
There are many of these apparent philosophical paradoxes or contradictions which don't concern me anymore.
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