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I play saxophone, I play tenor sax.
I was a born rock n' roll sax player.
I wanted my voice to be a tenor sax, really.
I played the sax at school. I was in marching band.
I'd rather somebody punch me in the face than drop my sax.
No. Maceo played sax, didn't he, well they used to sit in.
I'm a terrible drummer; I almost cannot play the guitar nor sax nor trumpet.
I play the sax, piano, guitar, bass... I started as a kid with piano lessons.
I made the tenor sax - there's nobody plays like me and I don't play like anybody else.
One of the reasons I wanted a sax in the band was that I loved Fats Domino's 'Blueberry Hill.'
To me, the sax is rock n' roll, even though electric guitars kind of pushed it aside for a while.
As far as other instrumentalists, I used to love mellow sax players like Paul Desmond. I love piano.
I put pressure on myself all the time. I felt it so much with 'Sax,' but I had to just let go and enjoy it.
Playing the sax and then enjoying jazz music, man - it's like I learned how to find words inside of the beat.
We've got an electric organ, a sax, drums, guitar and bass guitar. We sound less like the Beatles than most of the groups.
I've just been recording mostly acoustic stuff, drums, and sax, and electric guitar. I'm just still writing songs and what not.
With the sax, I learned technique well enough so that it feels like part of my body, and I just express myself. That's where I want to get in golf.
When you play a sax, that saxophone is irreverent. It's noisy; it's a trickster... you cannot hide the saxophone in your hands, so it's a good teacher.
Now that I am much older, I have had a number of sax players tell me I was responsible for them playing sax. Some of them I have admired over the years.
One of my songs was on a jazz station for awhile. It was a song that I wrote for a jazz sax player friend of mine, and I sang and played the guitar on it.
What about that Dave Brubeck live album, with a version of 'Like Someone in Love' on it, and long sax solos by Paul Desmond? That's what got me hooked on jazz.
My grandma did opera singing for the better part of her life; she used to sing all over the place. My grandpa was a sax player, and he used to travel all over the place, too.
I take my job as a rock and roll sax player very seriously. To do it the way that I must do it, I must be in good condition. The better shape you're in, the harder you can rock.
I'd love to be a saxophonist. I don't know why, but I pretend I'm the saxophonist when I listen to music. I have about as much chance playing the sax as I do learning how to fly.
I've never really played golf. With the sax, I learned technique well enough so that it feels like part of my body, and I just express myself. That's where I want to get in golf.
I like what Oliver Lakes does on the saxophone. The saxophone comes pretty close to the sound of the human voice and when Oliver plays with other sax players, it's like a dialogue.
People like, George Soros, Bill Gates, Warren Buffett, Paul Krugman, Joe Stiglitz, Jeffrey Sax, Dean Baker, Robert Poland, Larry Summers have said they all support a transaction tax.
I got one of the best sax players in the business - Arno Hecht. He plays with the Uptown Horns and all the great blues bands. He expresses the heart of the Apollo Theatre, let me tell you.
In the end, I didn't think I was good enough to use sax as a stage performer to get where I wanted, and thank God I chose my voice as my instrument instead. You need to be honest with yourself, and I was.
I'm still waiting for someone to call me to cater their wedding. But that's gonna cost you. If you want my cousin Jerez to play the sax, that's going to cost you a little more. The sky's the limit after that.
He used to have a tent show, a little tent show, and I thought I was going to get a job working one year on the tent show, but he closed it down and I never got to go out there, but anyway, he had a sax and played drums.
As a horn player, the greatest compliment one can get is when a person comes to you and says, 'I heard this saxophone on the radio the other day and I knew it was you. I don't know the song, but I know it was you on sax.'
I started playing sax when I was fourteen because I'm like a real competitive person when it comes to winning girls attention. And there was this girl that I really wanted the attention of and I found out she really liked jazz.
The beauty of recording in L.A. is that most of the musicians that are on the record live here, so it was easy to get world class artists like Rick Braun to swing by and play a little trumpet, Everette Harp on sax, guitarist Paul Jackson.
I wanted to be Gerry Mulligan, only, see, I didn't have any kind of technique. So I thought, well, baritone sax is kind of easier; I can manage that - except I couldn't afford a baritone, so I bought an alto, which was the same fingering.
Whenever I open a book about jazz, I turn to the index and look for Lennie Tristano, the incredible pianist; Lee Konitz, the luminous alto sax player; and Warne Marsh, the tenor player who captured some of the most beautiful sounds in the world.
When I started rhyming, my favorite rhythms were from John Coltrane and some of the things he did on sax. And certain rhythms that I hear on drums, I try to emulate with my words, dropping on the same patterns that them beats or them notes would hit.
Any saxophone player will have those influences come through in their music in a very different way. I can listen to the same 10 sax players as someone else for my entire life, and we'll both play completely differently. That's the beauty of being a musician.
Some songs are just going to be acoustic with just maybe some light background stuff going on and maybe violin or something like that. Or sax - I mean, I'm definitely having some sax. That's just what I love. It's going to be jazz-rock stuff. That's what I'm aiming for.
The sax solo as we know it today would not exist without Gerry Rafferty. His 1978 soft-rock classic 'Baker Street' has to be the 'Ulysses' of rock & roll saxophone, giving the entire chorus over to Raphael Ravenscroft's sax solo, creating one of the Seventies' most enduringly creepy sounds.
I was focusing on sax while at Berklee, but then I started to play Brazilian choro and Colombian music. I was doing more folkloric stuff on the clarinet because it works better. Finally, I realized I was working more on the clarinet than the saxophone, and I started to feel more comfortable on it.
My father was a jazz tenor sax player. He played in a lot of big bands. So I had that sound around me all the time. The first record that really caught my ear was Clifford Brown's 'Brownie Eyes.' I grew up listening to John Coltrane and Illinois Jacquet. This is where I come from... I love improvisational music.
When I was younger, I'd go to the Museum of Television and Radio in New York and watch this beautiful clip of Billie Holiday playing with a bassist, a pianist and Gerry Mulligan, who was a friend of mine, on baritone sax. At one point, she looks over at Gerry, and they just smile. When those moments happen, it's just lovely.