3. Melford referred to the events that catalyzed these issues in the same interview:

“I had played with Han Bennink in late ‘93 and early ‘94, which was really quite a stretch for me. In both situations, I couldn’t do most of what I had worked out with the trio. I couldn’t rely on a set of tunes I was familiar with, or certain ways of doing things in specific circumstances. All of that was suddenly pulled out from under me. I discovered that I really enjoyed not knowing what was going to happen next, of starting a tune, going far afield from it, and not knowing whether or not we would get back to it, either in an oblique or a very direct way. There was an incredible amount of freedom and listening empathy for a greater variety of what might happen in a set. While there was a lot of telepathy going on within the trio, it was based on what we had carefully worked out. Dave (Douglas) was another person like Han where anything could happen and he would be right there with me. He could hear when I was making really oblique references to my own material, and that was really exciting. It was that type of playing that was the basis of my work with the Extended Ensemble.”