Steve Lacy Quotes

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Bamboo is not a weed, it's a flowering plant. Bamboo is a magnificent plant.

Before the work comes to you, you have to invent work.

Circumstances can be very important. Find the right people to work with.

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 heard Sidney Bechet play a Duke Ellington piece and fell in love with the soprano saxophone.

I started in New Orleans music and played all through the history of jazz.

I still love the whole history of jazz. The old things sound better than ever.

I think it is in collaboration that the nature of art is revealed.

I wanted to be a pianist but it just wasn't my thing. I guess I wanted to stand up rather than sit down.

I was spoiled by Monk's music because it was so good, so complete.

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've been working on the soprano saxophone for 40 years, and the possibilities are astounding. It's up to you, the only limit is the imagination.

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 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.

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.

If you're trying to invent something new, you're going to reach a lot of discouraging points, and most people give up.

It starts with a single sound. If there's something in that sound, then it's worth continuing.

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.

Jazz is like wine. When it is new, it is only for the experts, but when it gets older, everybody wants it.

Jazz is people's music, a collectivity.

Kenny G, I have to be grateful to him for proving that the instrument can be played all different kinds of ways.

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.

People don't want to suffer. They want to sound good immediately, and this is one of the biggest problems in the world.

Play difficult and interesting things. If you play boring things, you risk losing your appetite. Saxophone can be tedious with too much of the same.

Register is very important. Music sounds best in a certain register.

Risk is at the heart of jazz. Every note we play is a risk.

Saxophone is one thing, and music is another.

Some people really want to play Mozart and be just performers. I was more interested in invention.

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.

The potential for the saxophone is unlimited.

The saxophone is a very interesting machine, but I'm more interested in music.

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.

The soprano turned out to sound to me like the right hand on the piano.

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.

They call me before they go into production, when they have a prototype, and they call legitimate saxophonists, too. As opposed to the other kind.

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.

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.

What I learned with Cecil Taylor was strategy and survival and how to resist temptations and resist getting discouraged.

When I came up, it was all about originality and collective research. There is an awful lot of imitation going on now.

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