First of all, I swore it was two people playing. When I finally admitted to myself that was one man, I gave up the piano for a month. I figured it was hopeless to practice.
Oscar PetersonRead
I'm a musician and, just as the critics are hard on me, I'm hard on the critics.
Interpretation
Critics and artists hold each other to high standards, reflecting their mutual expectations.
In this quote, Oscar Peterson highlights the reciprocal relationship between artists and critics, suggesting that both parties critique each other rigorously. Musicians and creators often face harsh evaluations from critics, but in turn, they are justified in critiquing the critics, indicating a shared responsibility in the pursuit of excellence and authentic artistry.
In practice
In a discussion on an artist's album, this quote could reinforce the notion that every artist faces scrutiny.
First of all, I swore it was two people playing. When I finally admitted to myself that was one man, I gave up the piano for a month. I figured it was hopeless to practice.
Too many jazz pianists limit themselves to a personal style, a trademark, so to speak. They confine themselves to one type of playing.
I don't believe that a lot of the things I hear on the air today are going to be played for as long a time as Coleman Hawkins records or Brahms concertos.
It's the group sound that's important, even when you're playing a solo. You not only have to know your own instrument, you must know the others and how to back them up at all times. That's jazz.
Montreal was a very active jazz center until club owners started putting in strippers instead of music. Before long, there was nothing to hear.
Too many jazz pianists limit themselves to a personal style, a trademark, so to speak. They confine themselves to one type of playing. I believe in using the entire piano as a single instrument capable of expressing every possible musical idea. I have no one style. I play as I feel.
When they say 'jazz,' I'm thinking of a word called 'the creative process.' It intersects every vein and tributary, avenue, path, that everyone's living. It crosses through there, but it's been contained.
When I decided to write 'The God of Small Things', I had been working in cinema. It was almost a decision to downshift from there. I thought that 300 people would read it. But it created a platform of trust.
We find things beautiful because we recognize them and contrariwise we find things beautiful because their novelty surprises us.
I realized with Broadway everything written for black people is usually written in the past, and I'm kind of a contemporary guy. I don't think you want to see me in 'Raisin in the Sun'.
When the words come, they are merely empty shells without the music. They live as they are sung, for the words are the body and the music the spirit.
In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it.
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