I practice my saxophone three hours a day. I'm not saying I'm particularly special, but if you do something three hours a day for forty years, you get pretty good at it.
I really create everything I do from the heart.
I think everybody has to kind of decide what the word 'jazz' means to them, and that's fine.
I approach everything in my life the same way; if it feels right, I know it.
Maybe the biggest thing that I've learned musically is that anything is possible. Things can work when maybe they don't seem like they can.
You can't just walk away when somebody recognizes you. You have to take some time out and talk to them. It's not a waste of time - I just love talking to people. And I don't do this to sell records. The truth is, I do what I do because I love it.
I just started as a part of the public school music program. I took lessons at the school every Friday and was a part of the school band. I was just a normal kid taking instrumental lessons at school, nothing special.
The whole rise of new adult contemporary music and smooth jazz was a nice surprise.
When I play live, I feel how the audience is going and follow and lead at the same time.
I'm just more into playing golf. It's a great thing.
If I even lose my glasses or make a mistake. I become really disappointed in myself.
Maybe I'm a dreamer, but I think the ordinary guy has just as much right to say 'This is a good song' as somebody who is in the music business.
There are a few countries that, for whatever reason, really enjoy listening to my music.
I listen to all the top 20 songs, and top 20 albums, even the rap albums. But I don't like negative messages. If somebody is putting a lot of ego out there, I don't like it. When I make my records I want it to be sincere.
I've never really played golf. With the sax, I learned technique well enough so that it feels like part of my body, and I just express myself. That's where I want to get in golf.
Well, Grover Washington was my main influence and when I went to college, I started listening to more of the jazz masters like Sonny Rollins, Cannonball Adderley, and John Coltrane.
It's important to let each artist do what makes him or her feel comfortable. Success should be a by-product of that.
The Moment is an album that contains the best music I have ever produced.
Just because people play songs with great technique doesn't mean the records are better.
I started realizing that music is the one area where I've always let go. When that saxophone goes into my mouth, I get into a space where I never think about the notes I've already played or anticipate the notes ahead.
Just figure out what you think jazz is, and then if it fits into that category, it's jazz, and if it doesn't, it isn't. It's no big deal.
Being a purely instrumental album, it makes a musical statement, not a religious one, and I hope that people can feel the emotion of the great melodies, even without the words.
I don't play the traditional Charlie Parker songs. But I do improvise and I do create with my instrument, and that to me is jazz. But there are people who use the word 'jazz' only in a traditional sense, and they would be offended by that, and that's fine.
I learned so much about playing and touring being on the road and in the studio with Jeff, but I'd always played a lot of gigs in Seattle even prior to joining the Fusion.
I'm responsive to my public, but I also follow my heart.
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