A Quote by Zeena Parkins
I applied, and I got in as a pianist. Their idea in the music department was that pianists, if they were good enough to get in, they were good enough to learn a new instrument. They felt sorry for pianists being alone in the practice room all the time, and they really wanted to socialize us pianists.
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There are three kinds of pianists: Jewish pianists, homosexual pianists, and bad pianists.
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.
I picked up some wonderful things just listening to other pianists that I appreciate, and that would be Herbie Hancock, Oscar Peterson, Vladimir Horowitz, and Art Tatum. Those are the pianists I really enjoy and admire.
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.
As a young child, I thought that all pianists played everything. I mean, I thought anything on piano - any piano music, all pianists played it.
When I was studying... there weren't any black concert pianists. My choices were intuitive, and I had the technique to do it. People have heard my music and heard the classic in it, so I have become known as a black classical pianist.
[My interest in music] is from my mother and my grandmother, who were pianists, and they taught.
The irrepressible spirit that made his playing seem like good conversation is the Rubinstein legacy for pianists, if they can pick up their heads from the keyboard long enough to claim it.
Pianists don't argue too much generally because we have a hard enough time just getting things right. Arguing is for string players.
Whenever I record something, I always believe that it's worthy of inclusion in the pantheon, and I would certainly like pianists to pay more attention to it. I think it's ridiculous now, because the range of repertoire - or what's considered 'safe' - is so narrow, even though there are pianists who are really trying to push the envelope. There is still a lack of attention, and there's no reason for it. The piano repertoire is so rich, with so many wonderful things that still are not given their due.
Back in the Stone Age, before there were workshops, it was a very difficult idea to get into musical theatre. Normally, you would be a chorus girl or boy and write something. People would get their start as rehearsal pianists or dance assistants.
I think I was drawn to the harpsichord because of the similarity of touch between the harpsichord and the tracker organ. When you press a key on the harpsichord, the pluck of the string gives a slight resistance similar to the feel of depressing a key on a tracker organ. Also, harpsichordists and organists use much less wrist and body motion than pianists, and we do not need the upper body muscles required by pianists.
Few of us boggle - though we should - at the fact that Louis Armstrong sang and played trumpet with similar panache, or that Leonard Bernstein and Benjamin Britten were equally adept as composers, conductors and pianists.
She wondered why they didn't understand that their true selfs were good enough, and if they weren't, then the someones they weren't good enough for, were really the ones not good enough.
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.
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.
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