A Quote by Oscar Peterson
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.
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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.
Everyone has their way of expressing themselves. Fashion and style are very personal.
If you look back at my fights, if you pick three or four fights in a row, it's possible if you watch my style I'm fighting a different type of style every single fight.
In the process of them developing this instrument, I've been playing the melodica in the style I would like the harmoniboard to be played, which is a mix between a harmonica and keyboard. I play with trumpet style techniques. I really like the mobility of being able to step off the piano and bring the music to the audience.
People are always defining and re-defining music. My style of playing has been characterized as smooth jazz and acid jazz. I listen as I play; I'm not caught up in defining the type of music I play.
My style of play has always been 'Guardiola style,' so I've not had too many problems. At the same time, he helps you to evolve and to change little things, because it's obviously not exactly the same style of play as at Bilbao.
My ultimate style pin up is a tough question because my own style is influenced by so many sources. From Bianca Jagger to Kate Moss to Julie Christie. I love how they are always themselves and it never looks too 'done.'
Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags.
So there is a personal sense of style for a given work - I don't like a general style, but every work has its own style, and I want to create a style for every work.
I can only be me. I do what I do, I'm not a jazz player. ... I don't play jazz standards, at least not in any recognizable way. It's not my turf but I have plenty of respect for that style of playing.
Style has become very important, the whole idea of style, what your personal style is. It's your identity.
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I like speed, I like passion, I like this style of football. Bayern Munich, for example, are very successful and play another style. I respect their style and it is another idea about football that is very successful but, if I had to choose what style I like most of all, it is the style we play.
My [singing] style really has no style, because I try to sing each number differently. I’ve always believed that if style takes precedent over the words and music, the audience get’s cheated. It’s like when people see a fine play or movie. They imagine themselves in the leading role. I want them to imagine that they’re singing - not just listening to someone else.
It seems like pop singing has sort of influenced musical theatre in so many ways - you could argue good or bad, really - and musical theatre is written for that style so often, which is a completely different style.
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