A Quote by Stephen Rea
When you're playing the part of a saxophone or a trumpet player, both of which I have done, it would be nice to be able to play like John Coltrane, but you can't. Your job is to do something else. And I'm not sure what it is, but I don't think I'd be acting Niels Bohr any better if I went and studied physics for five years.
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This is the most important joke I've ever heard. Niels Bohr, the founder of Quantum Physics, had a friend to dinner. As the friend left, he noticed a horseshoe nailed above Bohr's front door. He said to Bohr, accusingly, "Niels, you're a great scientist. You can't believe in superstitions." Bohr answered, "I don't, but apparently it works anyway."As with confirmation bias, we tend to lean toward superstitions that benefit us.
Niels Bohr brainwashed a whole generation of theorists into thinking that the job (interpreting quantum theory) was done 50 years ago.
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 was joked by a lot of older musicians because I was playing saxophone over trap beats or future bounce beats, and it just wasn't what you do. They were just like play some John Coltrane and get in the corner. But that's just not how I work.
My aunt Ruth Brown was a jazz musician. I got hooked on it at a young age, understanding what John Coltrane was doing playing two notes on the saxophone at the same time, which is impossible.
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 just want to play like Jimi Hendrix. I love other forms of music and wish I could play classical piano, or saxophone like John Coltrane, but that will never happen. Because my nature is to play electric guitar really well and to emulate my heroes from the late 1960s.
[on playing Walter] It was wonderful to be able to play a character who had so many colors and who was able to play comedy, to play incredibly vulnerable, which he did a lot of the time, to play the love story, and to play the relationship with the son, which is quite unusual. That's a gift to me, as an actor. It was like everything you could possibly hope for, over five years. So, I was a very lucky actor.
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.
[About the great synthesis of atomic physics in the 1920s:] It was a heroic time. It was not the doing of any one man; it involved the collaboration of scores of scientists from many different lands. But from the first to last the deeply creative, subtle and critical spirit of Niels Bohr guided, restrained, deepened and finally transmuted the enterprise.
It is hard to communicate understanding because that is something you get by living with a problem for a long time. You study it, perhaps for years, you get the feel of it and it is in your bones. You can't convey that to anyone else. Having studied the problem for five years you may be able to present it in such a way that it would take somebody else less time to get to that point than it took you. But if they haven't struggled with the problem and seen all the pitfalls, then they haven't really understood it.
I was [ on Thelonious Monk International Saxophone Competition] with Ralph Bowen, and Joel Frahm, Jimmy Greene, John Ellis. You can't play the saxophone better than any of those guys play. So many of those things that those guys could do I wish I could do now, let alone then.
I started playing trumpet when I was 11 years old. All I wanted to be was a jazz trumpet player when I grew up.
Nobody else even approaches the trumpet like [Sweets Edison] does: Never too much and always plenty. He's the greatest trumpet player to play along with singers. He exactly knows how to play with you, how to answer you about what you just sang ... On top of that, he has some great sense of humor, both as a musician and as a man. Every time I see him, I'm laughing so much. Sweets is impeccable and incomparable.
I'm not an amazing trumpet player. It's mostly smoke and mirrors. You shake the trumpet and it starts to vibrate in a ridiculous drunken way, or you flop notes at the right time and you don't have to play stuff that would take seven years to learn.
The only thing I wouldn't like to do is to play roles as a musician. I'm not sure that I would be comfortable doing that, and I'm not sure I'd be very good at it. I think I would be better served, and would be a better partner, if I was in something outside of myself.
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