In fact, I heard Bird first, and had got well into listening to him. You know, it's the kind of accidental thing that awareness of a player is: what's available, what somebody happens to play for you.
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.
People are approaching electronic levels in music; although not all of it happens to tickle my fancy.
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.
New York is still where I live most of the time.
Miles Davis is one who writes songs when he plays.
It's true I've always been attracted to the jazz band in an orchestral way, rather than a band way.
The first reason for starting to do the symphony concerts was to play this new piece of mine.
The recording industry has changed; they're enjoying such incredible success in the pop field.
The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing.
Then, of course, I played alto and tenor, wherever there were jobs.
When I began listening to saxophones, I was first attracted to Coleman Hawkins.
When we've finished the current tour I'm going to go back to Italy and see if I can do some more writing.
Actually, it is a fact that I've been doing more writing than playing in recent years.
Because if you've got the wit, you can make anything into a melody, ultimately.