David Bowie and the Saxophone: A Love-Hate Relationship

David Bowie’s musical legacy is defined by constant reinvention, but one instrument accompanied him from his teenage years through his final recordings: the saxophone. While not always at the forefront of his catalog, the saxophone was a deeply personal instrument for Bowie—one he played himself on several notable recordings, despite describing their relationship as "embittered."

Early Years and First Instrument

Bowie's connection to the saxophone began in his early teens. His half-brother, Terry, was a jazz enthusiast who introduced him to the music of John Coltrane and Eric Dolphy. For Christmas in 1961, Bowie's father purchased him a white acrylic Grafton alto saxophone, which cost £55—about half the price of a brass instrument. Bowie later recalled that his father made him agree to pay back the money from his part-time job.

At age twelve, Bowie sought lessons from renowned baritone saxophonist Ronnie Ross, whom he found in the telephone book. Ross initially refused, but Bowie persisted until Ross agreed to see him on a Saturday morning. Decades later, when Bowie produced Lou Reed's "Walk on the Wild Side," he hired Ross for the sax solo—only revealing his identity after Ross completed the take.

Songs Featuring Bowie on Saxophone

Bowie played saxophone on multiple recordings throughout his career, though his contributions were sometimes overshadowed by the virtuosic session players he employed.

"Subterraneans" (1977) – The closing track of the album Low features Bowie's saxophone prominently. The song, part of his Berlin Trilogy, uses "faint jazz saxophones" that Bowie said represented the memory of what East Berlin was before the Cold War separation. The track is primarily instrumental, with Bowie's sax floating beneath layered synthesizers and wordless vocals.

"John, I'm Only Dancing (Sax Version)" – Bowie recorded a punchier, sax-driven version of this 1972 single. This version, often referred to by fans as the "sax mix," appeared on the Sound and Vision box set and as a bonus track.

Studio Session Contributions – According to album credits, Bowie played saxophones on multiple tracks from Low, including on tracks 4 and 11. He also played alto saxophone on several tracks included in the Sound + Vision box set.

Live Performances – Bowie occasionally played saxophone during live appearances. At Peter Sellers' 50th birthday party in Los Angeles, Bowie joined an impromptu group called Trading Faces, performing blues numbers on saxophone alongside Bill Wyman, Ron Wood, Joe Cocker, and Keith Moon.

Tin Machine – With the band Tin Machine, Bowie played baritone saxophone on tracks including "You Belong in Rock and Roll" and "Hammerhead" from Tin Machine II.

A Complicated Relationship

Despite his early dedication—Bowie even recorded a demo at age sixteen where he primarily wanted to showcase his saxophone playing—he described his relationship with the instrument in complex terms. "I found I didn't have a very good relationship with the sax and that lasted right the way through," Bowie once said. "We're sort of pretty embittered with each other. It lies there waiting for me to touch it. It defies me. I really have to go through traumas to get anything out of it".

While professional saxophonists like David Sanborn played on Bowie's hits such as Young Americans and David Live, Bowie's own saxophone playing remained a more personal, occasionally featured element of his work rather than a defining instrumental signature. The instrument that symbolized "a way of getting out of London" and toward America remained with him throughout his career, even as their relationship remained uneasy.

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