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.

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

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.

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

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.

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

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

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

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

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

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

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.

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.

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 potential for the saxophone is unlimited.

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

You must have the music to justify an instrument's extensive use.

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.

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

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

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

Saxophone is one thing, and music is another.

When I found the music of Monk I finally found music that fit that horn. Every one of his tunes fit it perfectly.

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.

You can work on the saxophone alone, but ultimately you must perform with others.

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.

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.

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

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

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

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

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.

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.

Whoever has an original thing to say, it is sort of a threat to the status quo.

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

Jazz is people's music, a collectivity.

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.

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.

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

You have to sound sad first of all, then maybe later you can sound good.

When I first started playing music in 1955, there was just a small body of people that knew it. It was a very esoteric type of thing.

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.

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

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

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

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.

If youre trying to invent something new youre going to reach a lot of discouraging points and most people give up.

Wherever there are rock 'n' rollers, we'll play. That's what we've been doing for more than 30 years - rock 'n' roll. It's made me everything from an honorary mayor to honorary member of a motorcycle gang.