We played for peanuts. But we did what we wanted to do, we heard what we wanted to hear, we performed what we wanted to perform, we learned what we wanted to learn.
When I heard Monk in person in 1955, he was playing with a quartet in a small club. The place was full of musicians, but there was no public at all.
People don't want to suffer. They want to sound good immediately, and this is one of the biggest problems in the world.
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.
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 wanted to be a pianist but it just wasn't my thing. I guess I wanted to stand up rather than sit down.
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.
Kenny G, I have to be grateful to him for proving that the instrument can be played all different kinds of ways.
Jazz is like wine. When it is new, it is only for the experts, but when it gets older, everybody wants it.
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.