Too many jazz pianists limit themselves to a personal style, a trademark, so to speak. They confine themselves to one type of playing.
Oscar PetersonRead
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.
Interpretation
The quote reflects the struggle of self-doubt and the realization of one's limitations in comparison to exceptional talent.
In this quote, Oscar Peterson conveys the moment of realization when he believed that the piano performance he admired was by two skilled musicians rather than just one. This revelation led to feelings of inadequacy, prompting him to give up playing for a month, showcasing the internal battle between aspiration and self-doubt that many artists face.
In practice
In a music class discussion about the nature of talent and 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.
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.
We are all spirits. We get depressed. But music makes you want to live. I know my music has saved my life.
Our songs did not transcend being R&B hits. They were R&B hits that white kids were attracted to. And if people bought it, it became rock & roll. That's marketing. Why couldn't it still be R&B? The bass pattern didn't change. The song didn't change. It was still 'Yakety Yak' and 'Searchin'.'
There's no future without the past and anybody who doesn't really understand where jazz has come from has no right to try to direct where it's going.
Jazz is the big brother of Revolution. Revolution follows it around.
I get offended when people say, 'So, being a white rapper...and growing up white...after being born white...' It's all I ever hear!
I always say that the problem with jazz accessibility is not the content of the music, it's people's ability to access it.
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