"We don't choose melodies to be played, but we choose the musicians we wantto work with." "It must surprise people, even ourselves, notonly the audience, but ourselves too." "And it has to be faraway from conventionaljazz, from the piano trio of course." "We are not able to say, that, from zero, things are fixed in advance, that we're gonna play a solo then, after 30 minutes, or a solo before..." "These kinds of things..." "It's not happening this way, of course we can have very precise ideas, but we never know when we begin ...what's going to happen, I mean... it's improvisation, really," "it's terrible, one minute or ten seconds before we play, we just don't know what we're going to play, I mean." "Then, after ten seconds, we have to make the most beautiful music, I mean..." "So it's kind of fearful !" "But, of course, we like thatvery much..." "There are several ways of playing with other people, of course, we can really be tight together butwealso can contradict the other, or the others, that's also a way to make something together." "When one thing is working well, and we cut it, then, other ideas will come immediatly, that may be more interesting than justgoing on with what was already very good." "And I alone might cut this, itdoesn't mean that the others have to cut it as well," "One may think : it's working well, OK and I say : pfuit... now I do nothing, or I do something quite different." "Kind of surprises..." "Bushi [Niebergall], my old friend Bushi..." "Atthat time, we knew that there were several musicians in differentcountries that were playing the same music as we did, that there were musicians in Amsterdam," "Brötzmann and Kowald in Wuppertal, that we had met, and musicians in London, or in England, I mean." "More in the germanic countries than in others in Europe, I mean." "So we knew that, so we went to get them." "I had a carso we went... and we also had some improvisation gigs in Amsterdam, atthe Philharmonie there, I mean..."