66 ordspråk av David Sanborn

David Sanborn

David Sanborn föddes den 30 juli 1945
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I know guys that live in New York, but I never see them play because they're always out on the road. I run into them in Europe.

I think the problem is when a genre or style becomes limiting, when it starts to define what you're going to do, then it becomes a problem.

But I never had any illusions at that time that it was going to be how I was going to make a living. I thought, well, I'll make a solo record, and it'll be fun.

I do this because I love it, and at the end of the day, the fact that I can make a living at all doing this, I'm grateful for.

I didn't go on the road until right after my second album.

My name is on the thing, but the reality of it is, when I get up there on stage, I'm part of a band. I'm part of a unit. It's like a basketball team.

We were in Europe, and what's great about going to Europe, is you get a chance to hear a lot of really great music.

They thought there was a market out there for instrumental music. They were trying to broaden their roster of artists. I got in on that.

Somebody like George Coleman has an approach and a pedagogical approach to teaching and can really kind of lay it out with exercises and demonstrations and different things that will improve your playing.

I'm just saying that the basic concept of creative freedom and growth creatively is a continuous process.

I don't see any way out of that because I think the audience as a whole is not being served and isn't getting excited about going out an buying CD's, and for that matter, going out and going to concerts.

I think as different songs kind of cross your path from one source or another, I approach them with the idea of, can I get inside this song and really kind of inhabit it and bring something of myself into that song?

The music is going to change anyway, whether or not the record companies get behind it or not. The music is there, and it's happening, and it's going on out there.

I think that that's the way the music grows and changes and becomes new and creative and vital. It's by synthesizing elements from all around it and not to maintain this kind of rigid myopic kind of tunnel vision, in a sense, trying to maintain a certain kind of purity, or whatever.

I think Norah Jones is a perfect example. Here's somebody who was playing the music she wanted to play and did it with some conviction, and it happened to be at a moment in time when there was a highly receptive audience for that kind of music.

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