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"You can work on the saxophone alone, but ultimately you must perform with others."
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"We try, when we wake, to lay the new day at God's feet; before we have finished shaving, it becomes our day and God's share in it is felt as a tribute which we must pay out of 'our own' pocket, a deduction from the time which ought, we feel, to be 'our own'. A man starts a new job with a sense of vocation and, perhaps, for the first week still keeps the discharge of the vocation as his end, taking the pleasures and pains from God's hand, as they came, as 'accidents'. But in the second week he is beginning to 'know the ropes': by the third, he has quarried out of the total job his own plan for himself within that job, and when he can pursue this he feels that he is getting no more than his rights, and when he cannot, that he is being interfered."
"The Lord had given them the day and the Lord had given them the strength. And the day and the strength had been dedicated to labor, and the labor was its reward. Who was the labor for? What would be its fruits? These were irrelevant and idle questions."
"If I went to work in a factory the first thing I'd do is join a union."
"Employment stereotypes you."
"The work I did in Vertigo meant nothing if no one cared about the movie. Luckily, Vertigo had a revival and people had begun to recognize there was something special and it gained in reputation. But it just as well could have ended up rotting in film cans somewhere."
Explore more quotes by Steve Lacy
"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."
"They call me before they go into production, when they have a prototype, and they call legitimate saxophonists, too. As opposed to the other kind."
"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 fell in love with jazz when I was 12 years old from listening to Duke Ellington and hearing a lot of jazz in New York on the radio."
"When I heard Monk in person in 1955, he was playing with a quartet in a small club. The place was full of musicians, but there was no public at all."
"It starts with a single sound. If there's something in that sound, then it's worth continuing."
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