A Quote by Coleman Hawkins

I made the tenor sax - there's nobody plays like me and I don't play like anybody else — © Coleman Hawkins
I made the tenor sax - there's nobody plays like me and I don't play like anybody else
I made the tenor sax - there's nobody plays like me and I don't play like anybody else.
I used to play tenor sax in high school, man.
I play saxophone, I play tenor sax.
nobody is like anybody else. that's why nobody gets along with anybody else.
Listen to 'Dream.' It's just me all the way. It's like raw. It's gutter. It's real. It's authentic. It ain't like nobody else. Don't sound like nobody else, no nothing.
When my colleagues went to endorse Rob Garagiola, nobody asked me for my opinion about that. And I didn't ask anybody else. I did what I thought was the right thing to do, and I made a decision, just like they did.
I was like the class clown in school so I guess I would say I did like the attention. In church I did a lot of plays, my mother made me play characters, do a lot of drama and acting, trying to become someone else. So it helped me create who I am, to create Snoop Dogg.
THE YEAR WAS 2081, and everybody was finally equal. They weren't only equal before God and the law. They were equal every which way. Nobody was smarter than anybody else. Nobody was better looking than anybody else. Nobody was stronger or quicker than anybody else. All this equality was due to the 211th, 212th, and 213th Amendments to the Constitution, and to the unceasing vigilance of agents of the United States Handicapper General.
Places like the National Theatre or Sheffield, these great engines of theatre, make us cutting edge because they can be experimental. They can do plays that nobody else can afford to do in ways nobody else can afford to do.
That one thing that people say about me taking plays off, I feel like somebody said that when I was playing in college and it has followed me throughout my career. Because I feel like if we had the film and you wanted to pick one person who was taking a play off on a particular play, you could pick anybody.
I wanted my voice to be a tenor sax, really.
I bought a tenor but I haven't dedicated the time to it, plus I haven't found a mouthpiece that I like as of yet. I've been doing a lot of mouthpiece searching for the alto in the last few years and now that that's cooled out maybe I can begin the search for a tenor mouthpiece. After doing it for the alto, I just haven't felt like looking for any more mouthpieces. You play both, right?
A young tenor player was complaining to me that Coleman Hawkins made him nervous. Man, I told him Hawkins was supposed to make him nervous! Hawkins has been making other sax players nervous for forty years!
Anybody who's done standup will tell you that there's nothing like it. The show starts at 8:00, the curtain goes up and there's nobody else except you and the audience, and you just perform for them for two hours. Nobody yells, 'Cut!' There are no retakes. That is still the most exciting medium for me, and I love it.
I'm a very intermediate sax player, but now that Rob Lowe is on my show, I had to cop to him. Like, 'Dude your ridiculous fake sax playing [in St. Elmo's Fire] inspired me to pick up a horn.'
When I was 16, nobody else talked like me. Nobody else sounded like me.
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