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propecia cost uk But what about the essential freedom of jazz? Bates brings out the score, and points out the numerous places the players are left free to improvise. “The difficult thing is balancing these with the composed sections,” he says. “There are lots of subtle ways of doing that, like leading into the improvised passages in a way you hope will inform the improvisation. Or you keep some instruments playing composed parts, while others become free. But you can never guarantee the result.” I notice that one section is marked 119 beats a minute, which is only a whisker away from the much more “normal” 120 beats a minute. Why the distinction? Just for a moment, Bates reverts to the puckish imp in short trousers. “Well I composed it using computer software,” he says, “and the problem with that stuff is it’s always suggesting sensible solutions, like 120 beats a minute. I thought, no, I want 119 beats. It’s just my way of subverting the machine.”

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