AAJ: So, do you practice regularly?
GC: Luckily I am in a place where I can actually practice. I lived in apartments for a long time and that was a hard thing.
AAJ: Given the musical situations that you are working with, do you feel like you get a chance to really indulge yourself on a musical level?
GC: Yeah, I think so. I've found that the times I have written stuff and put performances together that during the performances and maybe this is because I haven't done it as much I'm more worried about the performance as a whole and I tend to take shorter solos and not really think about what I am playing as much because I am thinking about what the other people are doing and whether the structure is going to hold together the way I've envisioned it. I think it's a balancing act in a way and it's something that, as I move toward more writing and organizing, that will be something that will become more automatic and I won't have to worry about it so much on the surface, but it will be underneath that it will be something I'll have to not think about. I will be able to not think about it as much.
AAJ: I would find it difficult to imagine you not enjoying yourself on stage (laughter), in your performances, getting sounds and things out of different kinds of percussion that you don't normally hear. I mean, in the mainstream of course you never see that. Like, for example, when Jerome Bryerton was in town last year it was interesting what he was doing but you take things in a little bit different direction. You have your own style.
GC: Well, it's nice to think somebody thinks so (laughs) because I'm not sure I ever do. I always think I'm borrowing things. And, you know, everybody borrows something from somebody. Nobody's got all original everything. But, yeah, I'd like to at least think I'm moving toward some kind of style.