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
Too many jazz pianists limit themselves to a personal style, a trademark, so to speak. They confine themselves to one type of playing.
Interpretation
Artists should explore diverse styles rather than limiting themselves to a single approach.
Oscar Peterson highlights the importance of versatility in jazz piano playing. He points out that many pianists restrict themselves to a single personal style for the sake of a recognizable trademark, which ultimately hinders their growth and creativity. Embracing a broader array of techniques and influences can lead to greater artistry and innovation in music.
In practice
In a workshop on musical creativity, a teacher might quote this to encourage students to try new styles.
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.
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.
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.
You ask for your audience's investment in your music; you're in a relationship with them. And their relationship with the E Street Band is separate from whatever else I might do. I like the idea of us being something that people rely on.
When you work with Ray Charles, Billy Eckstine and Frank Sinatra, and you tell them to jump without a net, you better know what you're talking about. Thank God I was ready for it.
I owe very, very much to Mozart; and if one studies, for instance, the way in which I write for string quartet, then one cannot deny that I have learned this directly from Mozart. And I am proud of it!
The guitar for me is a translation device. It's not a goal. And in some ways, jazz isn't a destination for me. For me, jazz is a vehicle that takes you to the true destination - a musical one that describes all kinds of stuff about the human condition and the way music works.
If wed known we were going to be The Beatles wed have tried harder.
I don't believe people playing rock n' roll should have crowns. We're not kings and queens. Anybody can play it.
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