A Quote by Robert Plant

I wanted my voice to be a tenor sax, really. — © Robert Plant
I wanted my voice to be a tenor sax, really.
I used to play tenor sax in high school, man.
I kinda always wanted to be a tenor player, but I'm a small guy, and tenor was just too big.
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.
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.
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.
Chano Pozo created the role of the conga soloist in the modern band, somewhat th way Coleman Hawkins created the solo tenor sax.
I play saxophone, I play tenor sax.
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.
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.
I've got no deep voice today. I've got a cold. But when I was young, I had a high tenor voice.
As much as I think John Coltrane belongs on the list, I think without Coleman Hawkins and Lester Young, both of whom defined improvising on the tenor sax, there would not have been the evolution of the craft by John Coltrane.
I always wanted to make sure that I was honest to myself and that people wanted to hear an opinion that was authentic... I wanted Man Repeller to be a voice for women who felt like they didn't have a voice or for women who didn't know how to express their voice.
The tenor voice should be like sunshine.
I'm a farmer with a mandolin and a high tenor voice.
I spent five years, at least, working with Miles. Together, we recorded ESP, Nefertiti, Sorcerer -- and I can tell you; each of these albums instantly became jazz classics. Hey, we had Wayne Shorter playing tenor sax, Ron [Carter] on bass, Tony Williams played drums. That was great band we had.
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