Trying to create a comfortable interface among composed and improvised music plus solo and group playing, has been a preoccupation of New York-based saxophonist Patrick Brennan since his youth in Detroit in the 1970s. He tells Perfect Sound Forever’s Daniel Barbiero that this idea was developed over years of study. It started with hearing primary influences like the Contemporary Jazz Quintet with drummer Roy Brooks or concerts featuring bassist Jimmy Garrison and drummer Elvin Jones in Detroit; studying scores and counterpoint from earlier European and non-Western musics while studying music in college; attending gigs by saxophonist Sam Rivers, various AACM members, pianist Cecil Taylor and trumpeter Don Cherry in Manhattan; and finally spending most of the 1990s living and playing with local improvisers in Lisbon, who had a different method of dealing with the notated-improvised situation. All this allowed him to conceive of a novel way of working with dialogue and conflict. Brennan explains the technical aspects of his interactive musical strategies at great length, which may be a bit difficult for non-musicians to follow. However listening to his recorded work, especially a recent CD with Portuguese guitarist Abdul Moimême, or his live performances, can be most enlightening.