Quel est votre claviériste préféré?

Citation : il a plusieurs fois hesité à abandonner le jazz pour le classique

Citation : bref .... alors , tes sources Gabou au Japon c koi?

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est une pure invention.

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ça me semble impossible et incoherent par rapport a son oeuvre, son entourage ....

Citation : Jazz is a music of great rhythmic subtlety and complexity, and while Gould was noted for his command of rhythm, the specific type of rhythmic complexity characteristic of jazz was alien to him. "It requires a much stronger conception of the third triplet in the beat than I have," he admitted to Tovell; "I simply can't think this way. ...One is so used to splitting the beat in even sections in classical music." The internal rhythm of jazz splits the beat into seemingly infinite subdivisions, with correspondingly boundless possibilities for inflection and accent. This special type of rubato, often called "swing," was developed by early jazz musicians in imitation of the inflections of blues singers – a fact that Gould, inventor of the "contrapuntal radio documentary," in which human voices are in effect analogous to musical instruments, would surely have found interesting.

Like Gould, most classical musicians, even those who have mastered improvisation, have difficulty "swinging," though Gould may have underrated himself in this regard. According to Ostwald, Andras Schiff characterized Gould's style as "rhythmically interesting" and "bouncing," with "something jazzy about it." Gould often found "swinging" inflections in Bach's music, an endorsement of his claim, to Asbell, that "no one ever swung more than Bach." (In The Psychology of Improvisation he also noted that "Bach, after all, was an indefatigable improviser.") In his own recording of the D-minor concerto, for example, he discovered "a couple of grace notes that were extremely offbeat, where the principal note is resolved not on the half beat but on the three-eighths beat." He told Tovell, furthermore, that his organ playing taught him that "when you play Bach, the only way to establish ... a motive of any kind was ... by rhythmic gasps and breaths" – the very type of vocal imitation that is at the root of "swing."

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Maintenant citer les dires d'un pote de Bernard Maury en références, c'est un peu léger gabou, tu ne crois pas.

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A brilliant classical pianist as well, Evans' work fused jazz repetoire and ensemble performance with a classical sense of form and conceptual scale

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Moi par exemple je me suis laissé dire par un pote d'un gars que je croise dans le métro qui est l'amant de la femme du concierge de l'immeuble de ta tante que tu es parfois un peu léger dans tes affirmations...

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As he told Gene Lees, "It's just that I've played such a quantity of piano. Three hours a day in childhood, aobut six hours a day in college, and at least six hours now. With that, I could afford to develop slowly. Everything I've learned, I've learned with feeling being the generating force." (Lees, Meet Me, p. 150). And as he later told Len Lyons, playing Bach a lot helped him gain control over tone and to improve his physical contact with the keyboard (Great Jazz Pianists, 226).

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We know Evans disliked exercises, avoided playing them; that he read quickly and accurately an enormous amount of classical (and other) printed music, and performed it perfectly;

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Je ne connais pas bcp Bill Evans