JB: I remember Jim Wilke at the Penthouse when 'Trane was playing there. And so he said, "It sounds like he's angry to me." And then I said, "Well no, It's not anger... I think what happens is you're coming from a perception of where you are at the moment." Because some people may look at that music as hostile.
PdeB: Oh a lot of people do. I remember.
JB: Cat's were slobbering and whatever else you know. But those guys were pretty mad. No, but what you're trying to do is you reach another state of consciousness and you try to do, and somehow--maybe you take out of body. You just created the fullest of your thing. And it's really enjoyable. It's not painful. I mean you're in a state of being where you're really exhilarated. You enjoy what you're doing, at least as far as what I can kind of felt myself. And so, it may appear because of the strive in whatever you're doing--you're reminiscing and looking strange, and to that it seems like pain to some other people outside. Because 'Do we feel pain when we do that?' but no. It's no pain at all. It's maybe a striving to do better. Because I think 'Trane and Dizzy and Miles are trying to reach a certain sound that will reach a center of consciousness that will make people more aware, more friendly, better universally--at least in the country a little better. So I think that was really the motivation for them doing some of the things they were doing. You look at Albert Ayler in Mozambique done that kind of thing. And probably any musician who's really into his music that way--even guys like Bary Harris and Tommy Flanagan.
PdeB: But you were one of the people who brought that consciousness here. It's real clear to me.
JB: I wasn't aware of that. That's the first time I've heard of that. I mean I never even thought about that.
PdeB: That music could heighten your consciousness and that it was really a concentrated effort to do that. I'm curious...
JB: I never knew that.