Zitat des Tages von Steve Lacy:
I fell in love with jazz when I was 12 years old from listening to Duke Ellington and hearing a lot of jazz in New York on the radio.
I wanted to be a pianist but it just wasn't my thing. I guess I wanted to stand up rather than sit down.
Circumstances can be very important. Find the right people to work with.
I was spoiled by Monk's music because it was so good, so complete.
Before the work comes to you, you have to invent work.
When I came up, it was all about originality and collective research. There is an awful lot of imitation going on now.
The soprano has all those other instruments in it. It's got the soprano song voice, flute, violin, clarinet, and tenor elements and can even approach the baritone in intensity.
Register is very important. Music sounds best in a certain register.
People don't want to suffer. They want to sound good immediately, and this is one of the biggest problems in the world.
I still love the whole history of jazz. The old things sound better than ever.
Kenny G, I have to be grateful to him for proving that the instrument can be played all different kinds of ways.
I've performed solo for 20 years now, but I don't do much of it, because if you only play alone, you go crazy and out of tune and play foolish music.
If you listen to Louis Armstrong from 1929, you will never hear anything better than that really, and you will never hear anything more free than that.
Jazz is like wine. When it is new, it is only for the experts, but when it gets older, everybody wants it.
Bamboo is not a weed, it's a flowering plant. Bamboo is a magnificent plant.
It starts with a single sound. If there's something in that sound, then it's worth continuing.
Nobody was playing the soprano saxophone and certainly nobody was trying to do anything with it. So I was all alone. I didn't know that at first.
The potential for the saxophone is unlimited.
The more original something is, the more of a threat it seems until the people catch up with it. That happened with Thelonious Monk. It happened with anybody who is really original.
To me, there is spirit in a reed. It's a living thing, a weed, really, and it does contain spirit of a sort. It's really an ancient vibration.
You must have the music to justify an instrument's extensive use.
If you have music you want to play that no one asks you to play, you have to go out and find where you can play it. It's called do or die.
The saxophone is a very interesting machine, but I'm more interested in music.
Saxophone is one thing, and music is another.
You have to sound sad first of all, then maybe later you can sound good.
When I first started playing music in 1955, there was just a small body of people that knew it. It was a very esoteric type of thing.
I heard Sidney Bechet play a Duke Ellington piece and fell in love with the soprano saxophone.
It's very important to go through periods where you sound just rotten and you know it, and you have to persevere or give up.
Whoever has an original thing to say, it is sort of a threat to the status quo.
There is an awful lot of what I call recreational jazz going on, where people go out and learn a particular language or style and become real sharks on somebody else's language.
Risk is at the heart of jazz. Every note we play is a risk.
What I learned with Cecil Taylor was strategy and survival and how to resist temptations and resist getting discouraged.
I've always been extremely lucky in playing with great people who knew much more than I did. That's how I got from there to here.
I started in New Orleans music and played all through the history of jazz.
When I found the music of Monk I finally found music that fit that horn. Every one of his tunes fit it perfectly.
I think it is in collaboration that the nature of art is revealed.