To survive there, you need the ambition of a Latin-American revolutionary, the ego of a grand opera tenor, and the physical stamina of a cow pony.
My father was a Norwegian tenor and my mother a New York Irish librarian.
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.
I don't know what I was trying to get out of a tenor - but it never really satisfied me until one day I picked up my alto and I said, 'Where have you been?' and I said right here for now on!
Faith is from within; it is the outbreaking of human spontaneity; it is force of soul, grandeur of sentiment, magnanimity, generosity, courage. Its formulas are naturally unintelligible in their literal tenor; for, otherwise, they would represent that which is scientifically known, and would not be the mere provisional clothing of that which is not objectively given, but subjectively projected from the inmost depth of the soul.
A very small offence may be a just cause for great resentment: it is often much less the particular instance which is obnoxious to us than the proof it carries with it of the general tenor and disposition of the mind from whence it sprung.
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 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.
In fact, the capitalist class in the '50s was sort of part of a social contract. It was part of the tenor of the times.
There's a bit of a difference in the way he sounds. Samuel E. Wright lent his voice and personality to the animated film with his booming voice. I have a high-tenor voice. Instead, I have to figure out a way to convince the audience to come along with me and accept this new texture and tambour to the way Sebastian sounds. I have a great dialect coach.
I'm a farmer with a mandolin and a high tenor voice.
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