Zitat des Tages über Horn:
I had the Big Horn river explored from Wind River mountain to my place of embarkation.
One bites into the brass mouthpiece of his wooden cudgel, and the other blows his cheeks out on a French horn. Do you call that Art?
I think that I have never had the confidence to really aggressively get behind myself, and so what I do tends to be - I don't want to say 'sheepish,' but there is a sheepish quality to my ability to toot my own horn. I'm very Midwestern in that way. So I just do what I like to do, and what I think I do well is not very loud, necessarily.
I love seeing people's reactions to gifts that I've created from my line, such as my gold horn ring, bottle openers, my 'Fallen' leather jacket and my Slither black and white sweater.
I've always done a lot of stunts in the past, and I sound like I'm tooting my own horn here, but I've always impressed the people I've worked with, and they've let me do more and more.
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 can play every instrument there is, every horn, I've played all the saxes and trumpets and everything and keyboards.
I've been listening to jazzmen, especially saxophonists, since the time of the early Count Basie records, which featured Lester Young. Pres was my first real influence, but the first horn I got was an alto, not a tenor.
You never toot your own horn.
Then I took 8 years of French Horn, first jazz, and then classical.
A guitar player goes on the road, and he misses his girlfriend for a while, but he manages to get along. A horn player gets out on the road, plays two or three towns, and then he'll get lonely, and next thing you know, he's packed up and left. It's better not to hire him in the first place.
I always felt as a horn player, a jam session wasn't satisfying enough for me. I should have been a rhythm section player, actually.
I hate to blow my own horn, but I gave a lot of people fits.
I play piano and drums very poorly and French horn and tuba all equally as bad.
I'd rather play a tune on a horn, but I've always felt that I didn't want to train myself. Because when you get a train, you've got to have an engine and a caboose. I think it's better to train the caboose. You train yourself, you strain yourself.
I came up from growing up with a lot of Catholic guilt, a lot of punk rock, hipster guilt in the later years where I think people have thrown a lot of things on me. Where I always felt like I'm not supposed to tell the horn section what to play or I don't want to come off egotistical.
When I went to college, I thought I was going to become a professional musician. I was a French horn player, so I went to Yale to study with a very unusual French horn player.
We all love people who give credit to others for their success. Companies would probably do better with CEOs who didn't blow their own horn and ask for ridiculous salaries and new yachts every year.
So it's really hard for a horn player to comp. But I'm totally into trying to switch those paradigms around and find a little magic space where that works, and try to mine that.
I love the French horn.
Mainly I was able to perform with music - I played the French horn, I would sing, and I was a drummer in the pipe band. So I think it was a way to show off.
Esquire, in a July, 1957 issue, has a photograph of me playing the French horn at the Five Spot.
Get someone else to blow your horn and the sound will carry twice as far.
I wake up in the morning, I do a little stretching exercises, pick up the horn and play.
I want to be silly, and that's being authentic just as much as being open and honest. It's authentic to make weird clown horn noises when it strikes you.
If you don't live it, it won't come out your horn.
It's not me to toot my horn. The minute you toot your horn, it seems like society will try and disconnect your battery. And if you do not toot your horn, they'll try their darnedest to give you a horn to toot, or say that you should have a horn.
I had a really good time in New Orleans, although I had some very tragic times in Baton Rouge. Some guys beat me up and threw my horn away. 'Cause I had a beard, then, and long hair like the Beatles.
One of my favorite albums is Bob Gibson and Bob Camp, 'At the Gate of Horn.' It was a really dynamic album, almost like The Beatles, and way before its time... around 1960 or so.
When you're playing music, say for instance, you're playing a part of the band and you're looking at your music, your horn is down into the stand. This way, it's up and it goes right on out to the audience, you know?
My main horn is a hybrid of a flugelhorn a coronet and a trumpet, but that's really because, for me, each instrument to me had a different voice, and I liked them all, but I didn't like any one of them singularly.
I actually think that I'm a genius; not to toot my own horn or anything, but I think I'm a musical genius.
Jazz should be recognized as music of the people, based in a lot of accents and melodies. What is jazz but music that people danced to? Jazz has the dynamic thing. I don't think you have to be playing only Charlie Parker licks on your horn or whatever the new version of that is.
I play drums, clarinet, saxophone, trumpet, french horn, piano.
We had an old Victrola with the old bulldog they used to have there. The horn would come out.
You have injuries that bother you when you're not playing. When that horn blows, you don't feel it.
