The title refers to the idea of wanting to be a part of something, but yet being regarded by others – or yourself – as still an outsider. Too jazz for rock, and too rock for jazz. Earthworks needed a come-back album that took no prisoners, and much of this I really like. Great stuff here from pianist Steve Hamilton and saxophonist Patrick Clahar on ‘Dewey-eyed, then Dancing’.

This was the first time Michiel Borstlap and I had played together. We’d only met at an airport the day before. The music is almost entirely improvised, as it was to be on all the subsequent two CDs. Jazz improvising implies listening and participating in a conversation, as opposed to reciting a written text. Paramount for success will be the ability to listen, to know when and how much to contribute, and when and how long to be silent. If it could have been written, there would have been no point in improvising it.

The challenging circumstances surrounding this were described in my book. Musically, it doesn’t get much better than to have some of you own music arranged for a little big band of crack NYC players and to be able to present it in a top NYC jazz club. Steve Wilson’s alto sax solo on ‘Up North’ alone is worth the price of admission. Check this out – I can’t begin to tell you what fun it is to play drums in the middle of this lot.

Back by public demand! Bill’s first book, ‘When in Doubt, Roll!’, was first published in 1988. It has been out of print for several years and during that time has climbed to dizzying heights of value on the second hand market, currently selling for a couple of hundred dollars. Bill is regularly asked if a new affordable version will ever be published – and now it is to be!