and breath, and the use of composition in improvisation... Just being inside his compositions taught me a lot about composition... What really impressed me is that he was composing in a way that was very similar to contemporary classical musicians but with a lot more freedom, allowing interpretation.". Since then, silence and space have become known as a central part of her recordings. As she noted in an interview with PostGenre, Marilyn noted, "[W]hen I first started playing creative music, I don’t think I left much of any silence in my performances. I was focused heavily on playing into the energy and showing what I could do. That kind of thinking is very far away from my mindset now." During the late 1970s and 1980s, she also worked and recorded with Reggie Workman, Roscoe Mitchell, Wadada Leo Smith, the Barry Guy New Orchestra, the Henry Grimes Trio, the European Quartet Noir (with Urs Leimgruber, Fritz Hauser, and Joëlle Léandre), and Babatunde Olatunji. In 1981 she performed at the Woodstock Jazz Festival, held in celebration of the tenth anniversary of the Creative Music Studio. In the early 1990s, her style began to evolve further when she visited Stockholm, where she heard a Swedish group that included bassist Anders Jormin. She recalls: "It just touched a nerve in me... it unlocked the door to the lyrical things that I would have liked to be doing and wasn't doing." "Some of this kind of beauty and Nordic sound and tenderness opened up something in me that I had really kept hidden because I was trying to be really strong all the time. Even when I played romantic things I played them with a lot of energy. So suddenly this other sound entered into my consciousness and it resonated with something in me that I had not allowed to be expressed." She soon performed and recorded with Jormin and his Bortom Quintet. In 1996, she recorded Nothing Ever Was, Anyway: Music of Annette Peacock with Gary Peacock, Paul Motian, and Annette Peacock, her first album for ECM. Regarding her ECM recordings, she stated: "A lot of the stuff I have been doing with ECM is more about an inner intensity rather than an outer one. I feel there is a connection between the two states - wild energy and extreme introversion - two sides of the same coin. I do both and feel like