Lee Konitz (born October 13, 1927) is an American composer and alto saxophonist.
You just keep playing. If someone special comes along and organizes it in a new way, then you'll have another approach and everybody will jump on it to try to learn.
I have been able to get a small audience. It's not the huge audience, but it's enough to make it possible to play. I appreciate that.
Labels don't mean anything to me. I'm trying to play as passionately as I'm able to. If they want to call that cool, that's fine. Just spell the name right, is the formula.
Out of Coltrane's whole history, there are things which I think are great from all the periods.
Bernstein grew up in my building in New York. He's a very, very fine player. When he was a kid, he came by to find out what was going on in the world of jazz.
It's very demanding to make up your own music.
That's kind of my goal: to build a new row of meaningful tones.
As long as there are people trying to play music in a sincere way, there will be Jazz.
I listen to classical music very much. There's a lot of jazz that I don't enjoy listening to.
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'd like to feel that whatever I play is a result of whatever I've heard.
After playing now for 60 years, it's still very challenging for me to play a simple melody and have it clean and touch the reed at the proper time in the proper way.
I understood that if I wanted to work, the saxophone was the main instrument. The clarinet was what we call a double.
Names and theoretical things don't occur to me. If they do, I'm not doing my real playing mode.
I could stop and say, Well that was a D minor, G seven, but I really don't want to know that. I just want to know that there's a combination of notes that makes a sound.
A first love always occupies a special place.