What I came back to is that jazz is a music to be played and not to be intellectualized on.
It's true I've always been attracted to the jazz band in an orchestral way, rather than a band way.
Because if you've got the wit, you can make anything into a melody, ultimately.
In a way, I started out to be a baritone player.
This life of being a transient human being has gotten to a point when it's very hard to bear
When [Billy] Strayhorn came on the scene, he just blew us away.
A very talented player and all around excellent musician. I love hearing his records on radio!
So I played alto for quite a while until I saved up the money for the baritone
Miles Davis is one who writes songs when he plays.
People talk about innovations and evolutions and that kind of thing; I don't understand about that nonsense. It's like, all instruments are there to use all the time
New York is still where I live most of the time.
The first reason for starting to do the symphony concerts was to play this new piece of mine.
Life on the road is murder. It's as though life begins and ends when you have your horn in your mouth.
I've always wanted a C trumpet on top, to have that same kind of facility without shouting.
The baritone can serve functions that the alto and tenor cannot, in orchestral voicing
You can make a saxophone into an electric organ; you can do everything with it
The other saxophones, except as solo instruments, really don't have much point in the orchestra
The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing
I've appeared on some other people's albums.
I would think, of all the saxophones, the baritone would be the most logical instrument if anybody was adding a voice to the symphony orchestra.
Now, the instrumentation in the jazz band and the jazz dance band has gone through many evolutions. For instance, in the 'twenties the tradition was two or three saxophones
If you've only got one horn playing, I still want the sense of ensemble.
I'm fascinated with the electronic devices that we can mess around with.
You start way down on a low B flat on the tuba and you have a chromatic scale; you can match the colours all the way up, till you get to the top of the trumpet.
Then, of course, I played alto and tenor, wherever there were jobs.
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