Quotes of All Topics . Occasions . Authors
I learn something new every day.
You don't rehearse jazz to death to get the camera angles.
We recorded to document ourselves, not to sell a lot of records.
I appreciate men like Ben Webster and Coleman Hawkins very much.
I never consciously tried to conceive of what my sound should be.
I played in rhumba bands, mickey mouse bands; all kinds of bands.
Records used to be documents, but now record companies want product.
I practiced saxophone eight hours a day for the first two years I played.
I cannot play a lie. I have to believe in what I play or it won't come out.
I've done some dastardly things but what can I do except make amends and apologize?
A good quartet is like a good conversation among friends interacting to each other's ideas.
If you like an instrument that sings, play the saxophone. At its best it's like the human voice.
I compulsively reach for perfection in music, often at the expense of everything else in my life.
I had a 10-year heroin habit and kicked that. Then I became an alcoholic. I drank two fifth's a day.
Hearing myself so much all the time, I don't think I sound that special all the time because it's me.
I never have any trouble playing anything I can think of. The trouble is in thinking of what to play.
Other than conversation, no other art form can give the satisfaction of spontaneous interaction like Jazz.
I've always regretted the fact that I've never formally studied and learned the mechanics of writing music.
There are four qualities essential to a great jazzman. they are taste, courage, individuality, and irreverence.
As far as playing jazz, no other art form, other than conversation, can give the satisfaction of spontaneous interaction.
You can read all the textbooks and listen to all the records, but you have to play with musicians that are better than you.
I came from an era when we didn't use electronic instruments. The bass wasn't even amplified. The sound was the sound you got.
The value of jazz still has to be clarified. People involve themselves with its superficialities without digging for its soul.
My dark sound could be heard across a room clearer than somebody with a reedy sound. It had more projection. My sound always seemed to fill a room.
I learn something new every day - to edit, to take out all the extraneous matter and stress form, logic, and content. I try to play beautiful music.
Life is too full of distractions nowadays. When I was a kid we had a little Emerson radio and that was it. We were more dedicated. We didn't have a choice.
You know, when I'm playing, I think of myself in front of the Wailing Wall with a saxophone in my hands, and I'm davening, I'm really telling it to the Wall.
The saxophone is actually a translation of the human voice, in my conception. All you can do is play melody. No matter how complicated it gets, it's still a melody.
We made records to document ourselves, not to sell a lot of records. I still feel that way. I put out a record because I think it's beautiful, not necessarily commercial.
The saxophone is an imperfect instrument, especially the tenor and soprano, as far as intonation goes. The challenge is to sing on an imperfect instrument that is outside of your body.
People think that I play effortlessly. I remember doing a record date with Bill Evans and afterwards he said to me, you make it sound so easy but when I get right up next to you you're working hard and making it sound easy!
I'm a recovered alcoholic. I don't do anything anymore, but those things, those things take away ... You're a different personality completely when you take those. For those who are really chemically dependent on anything, it's not you.
When I'm alcohol-free now and even to see the world around me, I appreciate it, but I never truly enjoy too much of it maybe because I feel like I'm a working musician. There are some joyous moments, but I will not think a joyous moment.
My life is music, and in some vague, mysterious and subconscious way, I have always been driven by a taut inner spring which has propelled me to almost compulsively reach for perfection in music, often - in fact, mostly - at the expense of everything else in my life.
I never consciously tried to conceive of what my sound should be...I never tried to imitate anybody, but when you love somebody's music, you're influenced...I really don't know how I developed my sound, but it comes from a combination of my musical conception and no doubt the basic shape of the oral cavity.
It’s like a language. You learn the alphabet, which are the scales. You learn sentences, which are the chords. And then you talk extemporaneously with the horn. It’s a wonderful thing to speak extemporaneously, which is something I’ve never gotten the hang of. But musically I love to talk just off the top of my head. And that’s what jazz music is all about.
When I got this saxophone, it became a religion. There wasn't TV, there wasn't much money, and there was just a real dedication.... I never thought of it as an art. It was just work that I loved. Not just work, but work that I loved. I loved it so much, I would play it if nobody listened to it. Any jazz musician, if there's nobody around to listen, would play just for the sheer joy of improvising music.
Switch to piano! No. Really, if you like an instrument that sings, play the saxophone. At its best it's like the human voice. Of course, it would be best if you could actually sing with your own voice. The saxophone is an imperfect instrument, especially the tenor and soprano, as far as intonation goes. Therefore, the challenge is to sing on an imperfect instrument or 'voice' that is outside of your body. I love that challenge and have for over forty-five years. As far as playing jazz, no other art form, other than conversation, can give the satisfaction of spontaneous interaction.