A Quote by David Bowie
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.
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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.
Actually, when I was in elementary school, I saw a saxophone. A band came to my school, and I saw this guy get up and play this solo. And I said, 'Oh man, what is that! That must be fantastic!'
My dad would take me downtown, and I'd stand backstage and watch him in the vaudeville pit band. I was 6 or 7. He was a musician, a band leader, a wonderful clarinetist and saxophone player.
Actually, my ambition at eight or nine years old was to be one of Little Richard's sax players, and that's when I got my first saxophone, a Selmer. It was a strange Bakelite material - that creamy plastic with all the gold keys on it. I had to get a job as a butcher's delivery boy to start paying for it.
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.
The saxophone was created to mimic the human voice and I think that's why I gravitated toward the saxophone eventually. I'd loved the clarinet, but there's something about the saxophone that just grabs you.
I decided to play the saxophone because it was the most obvious instrument in my family. There were a lot of saxophone players in my family, and there were extra saxophones, so that was an easy one to pick up. It was fun - it was okay - it just wasn't me. It didn't feel like my instrument, so I never followed through.
I've played drums since I was 15. My sisters and I all played instruments. I kind of started with piano and then I actually played saxophone with a jazz band in middle school. So, any knowledge I had of jazz music was from playing alto-sax back then.
I skipped school one day to see Dizzy Gillespie, and that's where I met Coltrane. Coltrane and Jimmy Heath just joined the band, and I brought my trumpet, and he was sitting at the piano downstairs waiting to join Dizzy's band. He had his saxophone across his lap, and he looked at me and he said, 'You want to play?'
I play saxophone, I play tenor sax.
My first experience with football was not very good because I didn't plan on playing football. I was just playing hookie one day and I was a sophomore and decided not to go to class. And the principal - normally he does his rounds and I thought I had him down pretty good where he was going to be - he sort of walked up behind me and scared me. He noticed I could run real fast. So that's how I got introduced to football.
I had to learn how to give my best effort to God and trust him with the results. I have to learn to have enough faith to trust in his grace and to trust in his sovereign and perfect plan. I had to submit my will, my desires, my dreams — give it all up to God and say, “Look, I am going to give my best effort, go on the court and play every day for you, and I'm going to let you take care of the rest.
I know that Dad was an idol to millions who grew up loving his music and his ideals. But to me he wasn't a musician or a peace icon, he was the father I loved and who let me down in so many ways. After the age of five, when my parents separated, I saw him only a handful of times, and when I did he was often remote and intimidating. I grew up longing for more contact with him but felt rejected and unimportant in his life.
... ... While Dad was fast becoming one of the wealthiest men in his field, Mum and I had very little and she was going out to work to support us.
Throughout the evening I would be recording these long saxophone delays and about four hours into the concert, if I wanted to take a break I would just play back the saxophone.
After I left Texas and went to California, I had a hard time getting anyone to play anything that I was writing, so I had to end up playing them myself. And that's how I ended up just being a saxophone player.
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.
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