This is deep, imo:
I think since the middle of the 1960s moving into the 70s, certainly there was a complexity where political men and women, African Americans in this case, would begin to push this way of thinking that improvisation is more important than composition, is more important than symbolic languages. And more and more, the African-American community, especially the artists, would come to a point of stall. That is to say, it would stop evolving. And to this day, in my opinion, the African-American community, especially the artists, have stalled, and as the result of stalling, suddenly this idea of “improvisation is more important than anything else” would emerge. But I have never agreed with this idea. In fact, I wouldn’t say I’m against it, but I would say, when applied to my own work, this idea of runaway improvisation was never what I was interested in. I was interested in being the best student of music that I could be. And how can you be the best [if] you reject notation? After all, notation is just a record of how you built something — the foundation of how you built something; the foundation that can help you discover the meta-reality of creative music.
There's a lot more...