A Quote by John Coltrane
I've been listening to jazzmen, especially saxophonists, since the time of the early Count Basie records, which featured Lester Young. Pres was my first real influence, but the first horn I got was an alto, not a tenor.
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We were all influenced by Lester [Young]. Listen to the records that he made with [Count] Basie. Nobody's got what he's got. He's still the daddy.
I have learned as much about writing about my people by listening to blues and jazz and spirituals as I have from reading novels. The understatements in the tenor saxophone of Lester Young, the crystal, haunting, forever searching sounds of John Coltrane, and the softness and violence of Count Basie's big band - all have fired my imagination as much as anything in literature.
And, well of course, Count Basie, and I think all of the black bands of the late thirties and early forties, bands with real players. They had an influence on everybody, not just drummers.
Alto (saxophone) is just a very hard instrument; there's so few people that play it really well. I feel it's the best one, too, now. At first I didn't feel that way; I wanted to be a tenor player. It took a long time for me to feel that alto was the most expressive of the saxophones.
I'd been studying the microphone for a dozen years, and I suddenly saw what I'd been doing wrong. I'd been singing too loud. One night I was listening to a record by Lester Young, the horn player, and it came to me. Relax, just relax. It's all going to be all right.
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?
You know, we were outdoorsy types, my folks, and one of the first tapes I got, a friend gave me a cassette tape of Ella Fitzgerald singing with the Count Basie orchestra. And it was the first time, really, that someone's voice had really spoken to me, and it was just so pure.
In those days before hearing Charlie Parker and Dizzy, and before learning of the so-called bebop era--by the way, I have some thoughts about that word, "bebop"--my first jazz hero ever, jazz improvisor hero, was Lester Young. I was a big "Lester Young-oholic," and all of my buddies were Lester Young-oholics. We'd get together and dissect, analyze, discuss, and listen to Lester Young's solos for hours and hours and hours. He was our god.
When I was 16 or 17 I heard the Count Basie band with Jo Jones and Lester Young and Herschel Evans and I couldn't believe it. They were the greatest swing band. I really fell in love with that sound. Everybody danced!
I got my first real job, one that didn't involve wearing a hairnet or bending over the hood of a wet car with a towel in my hand, in the early '90s working for CBS Records. While there, I started my first of several rock bands and eventually wrote my first book, the semi-autobiographical novel, 'Don't Sleep With Your Drummer.'
Well, you know, the first step I took was to drop the alto and baritone and concentrate on tenor exclusively, a decision I've never really looked back on with any regret. Another thing was that I was 17 when I moved up there, and my listening had really focused on freer music in the previous couple of years- Coltrane was playing with his expanded group, and everyone was listening closely to that, and we were into Shepp and Ayler as well.
I've always been a huge Butthole Surfers fan. The first time I saw them was in the early '80s when all they had out was their first EP. I thought they were amazing. They've always been a huge influence and one of my all-time favorite bands.
My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.
In September 2012, I got the blues pretty bad, so I stopped playing for a little while. I started to renew my playing by the time February of 2013 came around. I would go up and rehearse to different songs, play stuff like Count Basie records, jazz or rap.
When I hear that young people have come to the theater for the first time to listen to opera, I'm very happy. Because it's the same thing that happened to me as a child. When I first heard the tenor voice, I immediately fell in love with this kind of music.
Well David "Fathead" Newman was my first experience with improvisation. When I saw him play for the first time I realized that there is an importance of spontaneous music being made on the spot. It was so soulful and singing through his horn. So that's how I was inspired early on.
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