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When I began listening to saxophones, I was first attracted to Coleman Hawkins.
Gerry Mulligan
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Then, of course, I played alto and tenor, wherever there were jobs.
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The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing.
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The recording industry has changed; they're enjoying such incredible success in the pop field.
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The other saxophones, except as solo instruments, really don't have much point in the orchestra.
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The first reason for starting to do the symphony concerts was to play this new piece of mine.
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The baritone can serve functions that the alto and tenor cannot, in orchestral voicing.
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So I played alto for quite a while until I saved up the money for the baritone.
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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.
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People are approaching electronic levels in music; although not all of it happens to tickle my fancy.
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Only the French, I guess, really use tenor and alto to any great extent in the orchestra.
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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.
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