Don't play the saxophone. Let it play you.
There's so much music out there & so many possibilities. I like anyone who plays any instrument.
The potential for the saxophone is unlimited.
I play drums, clarinet, saxophone, trumpet, french horn, piano.
Saxophone is one thing, and music is another.
The saxophone is an imperfect instrument, especially the tenor and soprano, as far as intonation goes. The challenge is to sing on an imperfect instrument that is outside of your body.
I play saxophone, I play tenor sax.
I always hated jazz guitar. I loved jazz saxophone but I hated jazz guitar. If I would buy an organ trio record I would make sure I'd buy one that did not have a guitar player on it. The sound was awful!
I wanted an electric train for Christmas but I got the saxophone instead.
As a horn player, the greatest compliment one can get is when a person comes to you and says, 'I heard this saxophone on the radio the other day and I knew it was you. I don't know the song, but I know it was you on sax.'
I wanted to play saxophone, but all I could get were a few squeaks.
And I saw the sax line-up that he had behind him and I thought, I'm going to learn the saxophone. When I grow up, I'm going to play in his band. So I sort of persuaded my dad to get me a kind of a plastic saxophone on the hire purchase plan.
I like to hear melodies that go from one extreme to the next- saxophone to a bell to a whistle, for instance.
You can work on the saxophone alone, but ultimately you must perform with others.
If you like an instrument that sings, play the saxophone. At its best it's like the human voice.
I am a saxophone player.
When somebody turned me on to a Coltrane record around seventh grade, I took up saxophone.
I played saxophone and trumpet. Pretty nerdy.
I remember once, when I started writing for the alto saxophone, a saxophonist told me to think of it as being like a cross between an oboe and a viola, but louder.
The sax solo as we know it today would not exist without Gerry Rafferty. His 1978 soft-rock classic 'Baker Street' has to be the 'Ulysses' of rock & roll saxophone, giving the entire chorus over to Raphael Ravenscroft's sax solo, creating one of the Seventies' most enduringly creepy sounds.