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And then as we played more and more as a trio, it became more and more of a situation where we realized we really knew how to use the fourth member of the group - that space. The thing about the trio is that it's the biggest sound you can have with the smallest unit.

There is something magical about three you know - a trio is tight and nicely economical.

As an improviser I'm now pretty comfortable with trios, so I'm thinking of working up to quartets.

A lot of musicians have a tough time hearing what we're doing in a trio format.

The Quartets have been a major part of my work.

I really felt that 'Three's Company' was a gift. When it ended, I had money in the bank and had the luxury to pursue a life that meant something, to learn and discover.

I started out by myself, but it eventually turned into a trio by the mid-'60s - a conga drum and another guitarist. And that's been mostly what I've worked with most of the time.

I seldom play in a trio, but acoustic music is likely to be lighter, quicker, and quieter.

So I didn't have anything to do with picking the songs, but I got to musically take them in places I thought might be interesting, so it was a real neat collaboration among the three of us.