LEE KONITZ

I hear many extra-musical things somehow in Coltrane.

As long as there are people trying to play music in a sincere way, there will be some jazz.

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.

Names and theoretical things don't occur to me. If they do, I'm not doing my real playing mode.

We all learn from each other, and I never really hung out with guys in that way, so I missed out.

In some ways Lester Young is the most complex rhythmically of any musician. He does some things which are just phenomenal.

It was 100 percent music. There was no ego involved, no attitudes, no black and white, it was pure music.

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.

Sound is the first thing that we tune into.

I understood that if I wanted to work, the saxophone was the main instrument. The clarinet was what we call a double.

I love Indian music very much, but I haven't studied that specifically.

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.

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.

A first love always occupies a special place.

Many people do think it's naive to improvise in front of paying customers. I'm not saying one way is better than another.

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.

I just completed a tour in Europe. I played every night. This requires traveling some days for six hours in a van or a train or a car. After six weeks of that, I checked into the hotel and just fell apart.

I listen to classical music very much. There's a lot of jazz that I don't enjoy listening to.

Benny Goodman was one of the big influences as a clarinet player. That's why I wanted the clarinet.

A lot of bands were doing remotes from ballrooms around the country.

Most jazz players work out their solos, at least to the extent that they have a very specific vocabulary.

I wish that person outside would stop coughing.

I'd like to feel that whatever I play is a result of whatever I've heard.

It's very demanding to make up your own music.

Out of Coltrane's whole history, there are things which I think are great from all the periods.