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
Montreal was a very active jazz center until club owners started putting in strippers instead of music. Before long, there was nothing to hear.
Interpretation
The quote reflects on the decline of jazz music in Montreal due to the replacement of musical performances with other forms of entertainment.
Oscar Peterson's quote critiques the shift in Montreal's vibrant jazz scene, which was once a hub for music lovers. He underscores the detrimental impact of prioritizing profit over artistic expression, describing how this transition led to a loss of musical culture and experience in the city.
In practice
This quote can be used in a discussion about the importance of preserving art in urban spaces.
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.
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.
My work is not about paint. It's about paint at the service of something else. It is not about gooey, chest-beating, macho '50s abstraction that allows paint to sit up on the surface as subject matter about paint.
We hated Bauhaus. It was a bad time in architecture. They just didnβt have any talent. All they had were rules. Even for knives and forks they created rules. Picasso would never have accepted rules. The house is like a machine? No! The mechanical is ugly. The rule is the worst thing. You just want to break it.
Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.
I don't want to repeat myself. I'm not going to play a guy like Allen in Happiness again any time soon because I did that and I don't want to tarnish or dilute that film by doing it again, maybe less well.
A painting to me is primarily a verb, not a noun, an event first and only secondarily an image.
Theatre has to be theatrical. It has to draw attention to itself, like poetry.
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