Basically, I like to pick up my flute, which is a pretty instrument, and play pretty on it.
I don't like any category; categories are not my favorite subject. They're too confining.
I'm a romantic. The impressionists have always been my favorites. I like prettiness - beauty, or what I perceive as beauty.
In 1983, all of us had U.S. passports, but because there was so much tension between America and the U.S.S.R., we were announced as a Canadian group.
Jazz is a way of life, and you have to learn about it on the street, so to speak. But the training comes in by giving you the tools to work with.
Music is that universal language which unifies the spirits of mankind.
New Age music does something wonderful to the nervous system.
The 'Inside' record definitely opened up a whole new audience.
The enthusiasm, the adulation for us as jazz artists, in Kiev and Odessa was really heartwarming.
We were the first small American jazz group since Sidney Bechet in 1927 to play for the public in Moscow and Leningrad.
Yes, I played inside the Taj Mahal, but the experience was also a quiet, inner experience.
You have to go out and learn jazz by playing.
After I came out of surgery - I was in the hospital for five weeks - I found that I gravitated toward very gentle sounds: chant music, solo bamboo flute sounds, a laid-back record of my own called 'Inside.' And the music became a very real part of my recovery process.
Even back when I played 'straight-ahead,' I mixed it up. I played some free-form, classical adaptations, solo flute stuff. It was New Age in its own way.
It was in 1967, and I was on a spiritual pilgrimage to India to study with the Maharishi Mahesh Yogi. That was before the Beatles saw him, by the way, when not too many people knew of him. Anyway, I visited the Taj and noticed its wonderful sound.
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