Glenn Gould’s interpretation of Bach is so definitively his own. One of the things I love so much about Bach is the distinct absence of phrase-markings, dynamics, and tempos. It fits in with the idea of Bach The Improvisor.
Bach gives us the important information (what notes to play, and for how long to play them) and the rest is up to the performer. Each time you play, it is an act of improvisation.
The line between “classical” and “jazz” is only there because there are those who would profit from their segregation.
I enjoy sharing my musical tastes and talents with my students, but the world of hip hop can be gritty (to put it lightly). As an artist (and a rational adult) I believe that censorship is a ridiculous concept and thus I do not ask our guest emcees and rappers to “watch their language.” Nor do I “bleep” them in post-production.
Employing clever editing, I can often avoid gratuitous profanity in our videos, but I don’t lose sleep over foul language. They’re just words, and I have never understood why some words are “bad”; in fact, some of the most disturbing diatribe spews forth in the floweriest and most righteous of language.
I understand that not everyone shares these views, and so I have always been hesitant to allow my younger students (and their parents) easy access to information about my alter ego “O-man” (short for “Omelette-man” due to my deep love of omelettes) from the beat-production web series G Koop & O-man. I am proud to present the following episodes of G Koop & O-man, which have all been stamped as CLEAN (there may be a little innuendo from time to time, but nothing graphic):