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Then, of course, I played alto and tenor, wherever there were jobs.
Then, of course, I played alto and tenor, wherever there were jobs.
Then, of course, I played alto and tenor, wherever there were jobs.
Then, of course, I played alto and tenor, wherever there were jobs.
Then, of course, I played alto and tenor, wherever there were jobs.
Then, of course, I played alto and tenor, wherever there were jobs.
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Gerry Mulligan:
The other saxophones, except as solo instruments, really don't have much point in the orchestra.Gerry Mulligan:
The baritone can serve functions that the alto and tenor cannot, in orchestral voicing.Gerry Mulligan:
Only the French, I guess, really use tenor and alto to any great extent in the orchestra.Gerry Mulligan:
Now, the instrumentation in the jazz band and the jazz dance band has gone through many evolutions.Gerry Mulligan:
When I began listening to saxophones, I was first attracted to Coleman Hawkins.Gerry Mulligan:
In fact, I heard Bird first, and had got well into listening to him. You know, it's the kind of accGerry Mulligan:
I like what I hear other guys doing, but the thing that really attracts me is melodic playing.Gerry Mulligan:
Miles Davis is one who writes songs when he plays.Gerry Mulligan:
Because if you've got the wit, you can make anything into a melody, ultimately.Gerry Mulligan:
People talk about innovations and evolutions and that kind of thing; I don't understand about that