I am a saxophone player.
You can make a saxophone into an electric organ; you can do everything with it
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.
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.
I play saxophone, I play tenor sax.
If all else fails, I could go to a train station and open up my saxophone case and make some bucks. I can do "Mary Had A Little Lamb," I can do "Happy Birthday."
I try not to talk during the day when I have a show that night. My voice is my instrument, just like a saxophonist's instrument is his saxophone, plus also his voice, if he's the one between tunes that makes announcements.
I like to hear melodies that go from one extreme to the next- saxophone to a bell to a whistle, for instance.
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.
When I was young, I never bought records because my brother Joseph played saxophone and had a record player. I loved listening to his records: The Dorsey Brothers, Duke Ellington, all the big American jazz bands, and vocalists like Ella Fitzgerald, Ernestine Anderson, and Kitty White, a singer from the US who was a friend of Nina Simone. Nobody in America seems to know about her, but she was quite popular in South Africa.
Eventually as a teenager, I was pulled up on stage by James Brown's saxophone player, Maceo Parker, during one of his concerts and scatted on his stage for 20 minutes. After I was done, Maceo's bass player got down on one knee as if he were proposing, took a string off of his bass guitar and coiled it up around my ring finger. He hushed the crowd and said into the microphone, "Wendy, from this day forward you are married to music. You have a gift from God. You must devote your life to using this gift or else you will deprive the world of something so special." I got the chills.
I never liked jazz music because jazz music doesn't resolve. But I was outside the Bagdad Theater in Portland one night when I saw a man playing the saxophone. I stood there for fifteen minutes, and he never opened his eyes. After that I liked jazz music. Sometimes you have to watch somebody love something before you can love it yourself. It is as if they are showing you the way. I used to not like God because God didn't resolve. But that was before any of this happened.
I heard Sidney Bechet play a Duke Ellington piece and fell in love with the soprano saxophone.
My world was a community ballet school, a marching band, my two sisters and my girlfriends. I played saxophone in the band and was a bit nerdy.
I play drums, clarinet, saxophone, trumpet, french horn, piano.
Melodies can be good depending on the context. You can have a simple melody, and if the harmony behind it is interesting, it can make a very simple melody really different. You can also have a complex melody. The more complex it is, the harder it is to sing, and then sometimes it can sound contrived. You could write a melody that would be fine on a saxophone but if you give it to a singer, it can sound raunchy.
The drum is the heart of music. The saxophone can play and then rest, as can all of them except the drums; the drummer keeps going - he can't afford to stop.
When somebody turned me on to a Coltrane record around seventh grade, I took up saxophone.
I always hated jazz guitar. I loved jazz saxophone but I hated jazz guitar. If I would buy an organ trio record I would make sure I'd buy one that did not have a guitar player on it. The sound was awful!
And I saw the sax line-up that he had behind him and I thought, I'm going to learn the saxophone. When I grow up, I'm going to play in his band. So I sort of persuaded my dad to get me a kind of a plastic saxophone on the hire purchase plan.
I remember once, when I started writing for the alto saxophone, a saxophonist told me to think of it as being like a cross between an oboe and a viola, but louder.
I played saxophone and trumpet. Pretty nerdy.
I practiced saxophone eight hours a day for the first two years I played.
I've got a real love-hate thing with the saxophone. I've got to be careful.
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.
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