Best 34 quotes of Steve Lacy on MyQuotes

A jazz musician is a combination orator, dialectician, mathematician, athlete, entertainer, poet, singer, dancer, diplomat, educator, student, comedian, artist, seducer, public masturbator, and general all-round good fellow.

A young pianist & composer who has demonstrated an exceptional creativity, in both his playing & his writing, as well as showing us all, his very strong commitment & motivation to aim for high musical goals. Talent like his is rare.

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

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

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

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.

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.

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.

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 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.

Make the drummer sound good.

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.

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.

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.

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.

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.

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.

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.

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

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

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