I recall improvisational drummer and composer Michael Evans telling me a story of someone who had the opportunity to meet Cage and give him a record, and John Cage just smiled and said, You know I have nothing to play this on?

As there are more online archives of improvised music, it becomes more like the daily practice of playing it. It lessens the idea of there being masterpieces of improvised music through benchmark recordings.

The word 'archive' seems so reassuring, but I have a lot ofconcern over the longevity of documentary materials.

Kenny Goldsmith from Ubuweb describes himself as an amateur archivist, and people can download files from Ubuweb - it's not a streaming service. But it's a miracle that it's still online and they're able to make it work through the donations of server space and volunteer efforts.

Records have always been the most extraordinary form of time travel for me, and that's why it matters to know when something was circulated, and if it had an audience of five or 50,000.

For me, it's good to have those dissimilar modes of songwriting sit side-by-side on a record, because they yield such different results.

The word archive seems so reassuring, but I'm not sure about these things that are now being called archives. Is anything lost by the fact that the word has come to mean so many more things.

What a strange thing - that musicians grant permission to places like Ubuweb, and then because it's free, it'll probably be listened to more often than something that is still wrestling with this idea of making a profit.

The danger of these collaborations across disciplines is in having too strict of a division of labor - in my case, of getting stuck doing the music. When I make an album, I write music, I write lyrics, I come up with the visual design, etc. I get to do all of that stuff.

I don't write poetry for the page because my inclination in that area is satisfied by songwriting. Ornamental Hermit was a comparatively effortless song to write, which is rare for me.

The instrumental pieces are compositions, certainly, although that's not the language that I instinctively use. They're not scored, and arrangements are often arrived at collaboratively. I always choose to play with people whose input I desire.

There's part of me that is a strict materialist.

In eighteenth-century England, there was a practice of hiring a picturesque hermit who would inhabit the beautiful ruin on your estate. To me it rhymes with certain kinds of pop-music entertainers and eccentrics - both touted and tolerated.