A Quote by Richard Clayderman
I would also like to mention pianists like Michel Petrucciani or Chick ?orea for whom I have great admiration in the jazz field.
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We don't live in a jazz world, unfortunately. I think if I had lived in a jazz world, I would have done OK. I'm not sure I would have done great. I'm a lover of jazz music, so I would have been happy, don't get me wrong. I go to jazz concerts like the biggest jazz fan in world. The drag is that I don't play jazz for a living.
I would like to mention astrophysics; in this field, the strange properties of the pulsars and quasars, and perhaps also the gravitational waves, can be considered as a challenge.
There are three kinds of pianists: Jewish pianists, homosexual pianists, and bad pianists.
Today, Lan Lan is one of my favourite classical pianists.... Years ago I had a great admiration for Arthur Rubinstein but I have no doubt that Franz Liszt and Frederic Chopin were also fantastic piano players - though there is no way to listen to them when they were performing.
Jazz is smooth and cool. Jazz is rage. Jazz flows like water. Jazz never seems to begin or end. Jazz isn't methodical, but jazz isn't messy either. Jazz is a conversation, a give and take. Jazz is the connection and communication between musicians. Jazz is abandon.
Of all the restaurants I visited in my childhood and adolescence, it was Michel Bras that I remembered most vividly and it was the chef himself to whom, early on in my cooking, I would make the most references. I don't mean that I tried to cook like him. Rather, that I tried to think like him.
Oscar Peterson is my favorite all-around pianist. There are pianists I like because of one thing and pianists I like because of another. But overall, I like Oscar Peterson best.
Hearing Marilyn Crispell play solo piano is like monitoring an active volcano. She is one of a very few pianists who rise to the challenge of free jazz.
Peyton Manning donated, I think, $10 million to start a children's hospital here in Indianapolis. Whenever you see something like that, you go, 'Okay, not only can I be great on the football field, I can also be great off of the field.'
I'd never met a woman I considered as intelligent as me. That sounds bigheaded, but every woman I met was either a dolly-chick, or a sort of screwed-up intellectual chick. And of course, in the field I was in, I didn't meet many intellectual people anyway. I always had this dream of meeting an artist, an artist girl who would be like me. And I thought it was a myth, but then I met Yoko and that was it.
My father is a jazz musician, so I grew up hearing jazz. My parents loved it, but I didn't like it. It went on for too long. Yes, I had certain teachers that really inspired me, like Danny Barker, and John Longo. And I had no idea that I would have any impact on jazz.
Sourav was a great cricketer, he performed on the field, would like to see him perform off the field as a cricket administrator.
Michel Gondry's 'Green Hornet' was another franchise flick that felt like it came out of left field - I thought in a good way, but most audiences disagreed.
I love jazz. So to me, there are two main types of jazz. There's dancing jazz, and then there's listening jazz. Listening jazz is like Thelonius Monk or John Coltrane, where it's a listening experience. So that's what I like; I like to make stuff that you listen to. It's not really meant to get you up; it's meant to get your mind focused. That's why you sit and listen to jazz. You dance to big band or whatever, but for the most part, you sit and listen to jazz. I think it comes from that aesthetic, trying to take that jazz listening experience and put it on hip-hop.
When I was about seventeen, I had a group called the Young Jazz Giants. We played all originals. When we would finish playing, people would be like, 'Oh my God, that was so nice, that was so great.' But Pops would never tell us we were the best. He would give it to us straight, like, 'You're out of tune. You're dropping beats.'
Some pianists seem to really remember the keys and not so much the notes they play. They want to learn until it's a physical habit that can be replicated. For pianists, this is much more of a problem than for other instruments, like the violin, where you actually have to think of the pitch.
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