I’ll never forget one of the Zorn pieces that I did and I performed right beside Ursula Oppens, who’s a fantastic piano player, classical piano player, that’s worked with the classical avant-garde for years, years and years. I mean, I think she recently had a birthday, like an 80th birthday or 70th or 75th, I don’t know how old she is exactly, but anyway I got a chance to play next to her, and I never got over how pure and crystalline her time was, her sense of time, her playing was unbelievable, like she wasn’t funky in the least, but she had this beautiful feeling for rhythm and time.
And then of course eventually I worked for years, years and years with Peter Scherer, who’s studied with Ligeti in Hamburg, then went to — studied with, I don’t know, who here at the — he studied at the Zurich Conservatory, and then — it’s like he had one of these amazing musical educations too, ended up studying electronic music here in the States, and then before he joined The Ambitious Lovers, because he figured out the Synclavier very fast, which was one of the first to sampling, sequencing synthesizers.1 The other one was the Fairlight.
He ended up working for Nile Rodgers. So, he had vast experience to put beside my whatever, few nights at Max’s and CB’s.2 So, yeah, I learned a lot from these guys, but I also I think you learn as — if you’ll listen, you can learn an awful lot just listening. And we were veracious listeners.3 We had to go out of our way to find things, and we were always — this was true also in literature and art though, things weren’t so easily available. You really had to go looking for them. And whether this gave — was of any value other than the thrill it gave us, I don’t know, but we really did had to go find information. Like there was like one authoritative book about Dada. It was hard to find the live Duke Ellington stuff, and all the — you had to go really looking for things.4