I don't research anything.

Personally, I've found one of the more stimulating ways of playing in recent times has been to kind of move outside the free improvised area and work with people who are probably improvisers but they have a particular way of working.

In fact it's quite gratifying for me to see some of the people who really objected to this method of working now being quite so profligate in their use of it.

The first Company concert was a single concert with a quartet who all knew each other, although they didn't play together regularly.

I don't think it is any different from what it was, except that the method is now familiar so you can't set up some internal shock situation.

Younger players in this music often turn out to be middle aged; it is not a young music.