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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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"Adult librarians are like lazy bakers: their patrons want a jelly doughnut, so they give them a jelly doughnut. Children's librarians are ambitious bakers: 'You like the jelly doughnut? I'll get you a jelly doughnut. But you should try my cruller, too. My cruller is gonna blow your mind, kid."
"The most valuable of all education is the ability to make yourself do the thing you have to do, when it has to be done, whether you like it or not."
"Ask yourself how many people you have met who grumbled at a thing as incurable, and how many who attacked it as curable? How many people we have heard abuse the British elementary schools, as they would abuse the British climate? How few have we met who realized that British education can be altered, but British weather cannot?...For a thousand that regret compulsory education, where is the hundred, or the ten, or the one, who would repeal compulsory education? At the beginning of our epoch men talked with equal ease about Reform and Repeal. Now everybody talks about reform; nobody talks about repeal."
"While in Bombay, I began, on one hand, my study of Indian law and, on the other, my experiments in dietetics in which Virchand Gandhi, a friend, joined me. My brother, for his part was trying his best to get me briefs. The study of India law was a tedious business. The Civil Procedure Code I could in no way get on with. Not so however, with the Evidence Act. Virchand Gandhi was reading for the Solicitor's Examination and would tell me all sorts of stories about Barristers and Vakils."
"I believe that which you study is only matched in importance by the sincerity with which you approach it."
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"There's an institution here called the National Sound Archive, and there's a character who works there, Paul Wilson. He takes a very special interest in the history of the music and advised Martin Davidson of the existence of these tapes."
"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."
"I think it's a great document of John Stevens' originality. At that time he was already much more fully formed in his conception than I was. I was sort of struggling to keep up, and sometimes it's pretty obvious."
"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."
"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!"
"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."
"Certain kinds of speed, flow, intensity, density of attacks, density of interaction... Music that concentrates on those qualities is, I think, easier achieved by free improvisation between people sharing a common attitude, a common language."
"You know, the whole philosophy of ad hoc combinations has its strengths and its weaknesses."
"There are many of these apparent philosophical paradoxes or contradictions which don't concern me anymore."
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