You start way down on a low B flat on the tuba and you have a chromatic scale; you can match the colours all the way up, till you get to the top of the trumpet.
This life of being a transient human being has gotten to a point when it's very hard to bear.
Only the French, I guess, really use tenor and alto to any great extent in the orchestra.
Because if you've got the wit, you can make anything into a melody, ultimately.
I've always wanted a C trumpet on top, to have that same kind of facility without shouting.
People are approaching electronic levels in music; although not all of it happens to tickle my fancy.
I like what I hear other guys doing, but the thing that really attracts me is melodic playing.
So I played alto for quite a while until I saved up the money for the baritone.
In a way, I started out to be a baritone player.
Then, of course, I played alto and tenor, wherever there were jobs.
The other saxophones, except as solo instruments, really don't have much point in the orchestra.
The baritone can serve functions that the alto and tenor cannot, in orchestral voicing.
Now, the instrumentation in the jazz band and the jazz dance band has gone through many evolutions. For instance, in the 'twenties the tradition was two or three saxophones.
When I began listening to saxophones, I was first attracted to Coleman Hawkins.
In fact, I heard Bird first, and had got well into listening to him. You know, it's the kind of accidental thing that awareness of a player is: what's available, what somebody happens to play for you.
Miles Davis is one who writes songs when he plays.
People talk about innovations and evolutions and that kind of thing; I don't understand about that nonsense. It's like, all instruments are there to use all the time.
Eliminating the piano means that I've always worked closer with the bass than most players.
If you've only got one horn playing, I still want the sense of ensemble.
I'm fascinated with the electronic devices that we can mess around with.
