What was that?

Yeah, I did.

Just to bears.

No humans, just to bears.

I'm an ambassador for Animals Asia.

We rescue moon bears from the barbaric bear bile trade.

And a little while ago, I had this idea and I said to Jill Robinson, who is the founder of Animals Asia, I said, I want to go to Vietnam and I want to do a concert to the bears.

You once had a curry delivered on stage.

I bet you didn't expect that when you started your career just in the industry as a music artist to

go into that, did you? I've always been a bit of a jokey teller and things like that.

And I love anecdotal stories and things.

And I suppose it really came to a head when I was doing a concert at what used to be the Hammersmith Odeon, now the Apollo in Hammersmith, and they had a power failure.

I had the band there, so I just walked to the front of the stage.

The only thing working was one mic with the house PA, and I just told a load of gags.

And we came off afterwards, and my manager, Brian Lane, said, that's just cost you a fortune.

Back in those

Rick, where does the world of freeform cellular jazz land in your wheelhouse?

I knew nothing about it until 1966.

And then in 1966 at school, a new art master appeared who was coming to do A-level art, and his name was Mike Westbrook.

And Mike Westbrook had a big band, a wonderful big band, and he introduced me to that freeform kind of music.

And in fact, he took me up underage with my cousin Alan, who was a great sax player as well, up to the old place, Ronnie Scott's Old Place, to hear the band.

It was a whole different genre of music that I'd never come across before.

It's a fascinating form of music that, how can I say this carefully, a bit like mediums.

Where next, and how did you get there from Sibelius?

[laughs]

Uh, but it was just ...

When you're a young, young kid, I mean, that was, that was a great holiday.

I mean, it was an adventure from the moment Mum woke me up at 4:00 in the morning to get into Dinky Doo.

Dinky Doo was our Morris Eight, 1938 Morris Eight, DNK784.

Uh, and there would be a roof rack on, on which dad would put a trunk with all our stuff in it.

And it used to take ...

[laughs]

And it's Roger Daltrey singing, I believe.

Yeah, Roger Daltrey did it.

I did some of the arrangement of that for it.

And Roger did it brilliantly, actually.

He did a fantastic job.

But the thing that was so good about doing the music in that film, in that particular piece, was the chord structure.

It's just sensational.

by who, Rick?