I first played solo in 1982 at the Workers' Music Association, Notting Hill Gate.
To quote from a 1998 Rubberneck.
"After a few concerts I'd learnt a lot about making connections - but had also noticed recognisable pieces beginning to develop. I quite liked this, but worried about what it meant for long-term solo work. For a while, I almost envied composers; able to wrap up a piece, send it out into the world, and move on to the next. But a lot of the pleasure in giving solo concerts is connected to the hope of finding, spontaneously, some music you didn't really know about beforehand. Playing pieces is too close to playing routines and a concert is an opportunity for much more. As a live performer, improvising usually just feels better - less acting, less theatre, and more chance for a little magic. By way of a bonus, this means engaging with what Derek Bailey described as a "search for whatever is endlessly variable".
Whilst still close to my feelings about solo concerts - another side of solo work has been to develop compositional ideas for CD: from the 1992 multitracks on Thirteen Friendly Numbers to the microphone-based work on Invisible Ear.
Live multitracking was explored with Stephen Moore's 15 speaker system at Issue Project Room.
Since the mid 1980s I have also utilised saxophone controlled feedback.
Over the last 15 years I have made many pieces for unusual acoustics and locations - such as inside the giant Oya Stone Mountain in Utsonimiya.
The 2006 Resonant Spaces tour visited northern UK sites chosen for their extraordinary atmospheres.
Other highlights include
Oberhausen's 200m high gazometer,
James McGee's The Hill in the West Texas desert (review),
Southampton's medieval vaults (review), and Newhaven's 19th century Fort.