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.
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Those early steps are very important in understanding the evolution. But in themselves, maybe now you need the later records to understand the significance of the earlier records!
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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.
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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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There are many of these apparent philosophical paradoxes or contradictions which don't concern me anymore.
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It's not like, I don't know, if Madonna has a new record out, then everybody from Bangkok to Birmingham knows what its called and can buy it the same week. But our stuff is not in that mass market.
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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.
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You know, the whole philosophy of ad hoc combinations has its strengths and its weaknesses.
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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.