Well,
but piano is not like the other instruments,
you know,
jazz piano,
because jazz piano in the old days was just as technical,
if not more so,
than a lot of the so-called modern styles of piano playing.
So you're not losing something.
It's not like somebody who wants to
play the cornet like Buddy Bolden or
something,
or Freddy Kephart or something,
where he's got to really do a lot
of conscious limiting of himself.
The piano is different in that you
don't have to go through a whole lot of
gyrations to play stuff from different periods of time.
It's the same keyboard,
the same instrument.
If somebody like Freddy Kephart wanted to play like,
I
don't know.
Like Freddy Hubbard.
Freddy Hubbard, very well said.
Yeah, he'd have to,
well,
you have to change his embouchure,
his mouthpiece,
and the kind of bore and a
horn and everything else.
Practically every variable, as a matter of fact.
Right, it's even
worse with reed players,
and God knows with drummers.
You can't play like
Chick Webb or Sid Catlett or Baby
Dodds on the kind of drums that they're
playing with whoever the latest thing is.
Good point, that's true.
But the piano remains the piano.
The piano is the piano.
So I mean,
there's nothing to prevent you from being very eclectic as a pianist.
Where there is a lot of things to stop you from being
eclectic on the other instruments.