A Quote by Roberta Flack
Bill Evans is a real serious jazz pianist who, in my book, crossed over boundaries in terms of color. He used the piano as his canvas.
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Kenny G is not real jazz. I don't even think Wynton Marsalis is real jazz. I don't think Harry Connick Jr. is real jazz. If there is such a thing as real jazz, The Lounge Lizards is real jazz, Henry Threadgill is real jazz, Bill Frisell is real jazz, you know?
When I hear the words jazz pianist, that just means I have the skills to do most things. Because to be a jazz pianist, even to be a bad jazz pianist, you have to be pretty good.
I like Stevie Wonder as my favorite non-pianist pianist. I mean, I shouldn't call him a non-pianist, because he's really a great pianist, but he doesn't feature it that much - he uses his keyboards and his piano technique to support his great songs and so forth, but he can really blow.
I'm a pianist - I studied jazz piano in college.
It's all very well having a great pianist playing but it's no good if you haven't got anyone to get the piano on the stage in the first place, otherwise the pianist would be standing there with no bloody piano to play.
My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.
My mother adores singing and plays piano. My uncle was a phenomenal pianist. My brother John is a double bassist. I used to play the piano, badly, and cello. My brother Peter played violin.
Art wasn't for selling. Actually, we once did have an offer on Double Negative. Things could be sold actually - everything could be for sale. But we had very few buyers. I think it was Michael Heizer who said that the point was to have a bigger canvas, and I've used that expression quite a bit. But I was thinking today that a canvas has boundaries; it has limit to it. And for earthwork, it was the very openness and feeling that there were no boundaries that made it so exciting.
My father had played cornet, although I never saw him play it. I found his mouthpiece when I was a kid. I used to buzz it. And my mother played piano and sang in the church choir for different functions. So there was always music in the house, jazz, gospel, or whatever. Especially jazz records.
In one dancing saloon I saw the only rational method of art criticism I have ever come across. Over the piano was printed a notice: 'Please do not shoot the pianist. He is doing his best.'
One of the most obvious aspects of the music to people who know jazz is: How does it feel in the swing? These are things that are very subtle and that jazz musician appreciate in a particular way. I appreciate the way Tommy Flanagan swings, the way that Barry Harris swings, the great pulse that Hank Jones and Bill Evans have - end every one of them is different.
Lars Ulrich is not a jazz drummer, but he grew up listening to jazz. Why? Because his father, Torben - an incredible tennis player - loved jazz. Jazz musicians used to stay at their house.
I took some lessons as a kid but trained myself by ear. I did it the way jazz musicians used to learn years ago, which is to play records and slow them down to figure out the notes. At first I tried to imitate Red Garland, who was my favorite jazz pianist.
Clare Fischer was a major influence on my harmonic concept. He and Bill Evans, and Ravel and Gil Evans, finally. You know, that's where it really came from. Almost all of the harmony that I play can be traced to one of those four people and whoever their influences were.
When I was young, I played the piano and studied classical music and jazz. I wanted to be a concert pianist, and if I'd devoted myself to it, I could have been. But it would have been too much work and a very lonely life.
Bob Erlendson, a local piano player, taught me chord structure and which scales go along with them. Later, I began listening to [pianists] Bill Evans and McCoy Tyner. Then I got interested in [saxophonist] John Coltrane.
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