The way to compose for me is to have lots of time.

I realized pretty soon that I have to do more than just play bass in the background way. So, I developed a kind of playing which only a handful of musicians accepted.

If there is a good musical reason, I think it might draw more attention and sell, though it is not guaranteed. To make a record without a musical reason, you have to either be a pop star who sells automatically or just be lucky.

It's better to finish at the peak or soon after it, than to wait until the audience notices a decline.

On the other hand, when I give it closer thought, I realize I'm not enough of a dictator to conduct an orchestra because it requires a pretty awful person. When you read these biographies of famous conductors, they are all awful people who fail in their private relationships.

It is probably very necessary to present your ego at some point.

I like to create the music I hear in my interior. As a conductor, you have the ability to squeeze the sounds and interpretation you asked for from 50 to 80 people.

As a result, I had to get my own playground which was my band Colours. This band lasted for about eight years and then the air was out of it and it was time to finish.

In 1972, I got my first electric bass and started playing the kind of instrument I play now. I found that the majority of musicians couldn't bear that. They are not used to listening to the bass because they think the bass is in the background to support them.

Whenever I release a record, it's my record. It's not a selfish thought. I may work all year 'round for other people. So, finally, when I come out with my own album, it should be me with the creative help of other musicians.

When I started to pick up the bass, it was purely by random chance.

On the other hand, I'm very tolerant as well. I expect that everybody can play what they want. I'm only not tolerant when it comes to myself and what is presented on my album that I have to listen to for the rest of my life.

When I think back now to the recording sessions, there is more improvisation than one hears. It's an ideal combination of arrangements and improvisation. Only a few people are able to listen and say what is composed and what is improvised. It's a unit.