My solo playing utilizes the deployment of suggestive psychic rhythms. I'll state these throughout a given piece and play thematic improvisations on top of that. I like to suggest that rhythmic movement without always playing it. I like to create openings that I can step into.

Early on, I played one or two disturbed people, and I guess I must have been good at it, because it stuck. But, you know, I'm a regular guy. I stay home a lot, I make an effort to keep a distance from the whole social thing, the openings, the parties. I try to live in a calm way.

My focus in the training sessions is always about movement to create openings and opportunities. When you don't have the ball, you still need the discipline to know where you should be, who you should be marking, but when we have the ball, it is important to be able to move around.

I've heard that almost all the people crowding around the big art openings barely look at the work on display and are just there to hobnob. Nothing wrong with that, except that none of them ever come back to look at the art - but they will tell everyone, and actually believe, that they have seen the exhibition.

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