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
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.
Interpretation
Understanding music involves knowing not just your part but also the roles of other musicians.
This quote emphasizes the importance of collaboration and mutual support in music, particularly in jazz. To truly excel, a musician must have a comprehensive understanding of their own instrument as well as the instruments of their fellow musicians, ensuring a cohesive performance where everyone contributes to the overall harmony.
In practice
This quote can be used in a music class to illustrate the importance of teamwork among musicians.
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.
We cling nervously to the melody, but we don't handle it freely, we don't really make anything new out of it, we merely overload it.
The old idea of a composer suddenly having a terrific idea and sitting up all night to write it is nonsense. Nighttime is for sleeping.
My friend George and I were walking on the beach in Norfolk, and there were thousands of [razor-clam] shells. They were so beautiful, I thought I had to do something with them. So, we decided to make [a dress] out of them. . . . The shells had outlived their usefulness on the beach, so we put them to another use on a dress. Then Erin [OβConner] came out and trashed the dress, so their usefulness was over once again. Kind of like fashion, really.
Artists love other artists. Shadow artists are gravitating to their rightful tribe but cannot yet claim their birthright. Very often audacity, not talent, makes one person an artist and another a shadow artist-hiding in the shadows, afraid to step out and expose the dream to the light, fearful that it will disintegrate to the touch.
Unfortunately, the boards of art institutions tend to be populated with well-meaning supporters of the arts who often lack any business background or appetite for imposing appropriate discipline.
It's weird when you see pieces of choreography that were done for you 15 or 20 years ago and now they are being done by another dance company.
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