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Because of the limited keyboard. This is a very strange thing. When I play the piano, I get clear down to the left edge of the piano. Now, unlike Art… - Clare Fischer
" "Because of the limited keyboard. This is a very strange thing. When I play the piano, I get clear down to the left edge of the piano. Now, unlike Art Tatum, I don't take runs that go up, that always end up on the extreme high "C". But I really do like the low end. Even as an organist, it has bothered me that the keyboards are five octaves and stop at "C". I've always wished that my pedal board went down to "F". My harmonic thinking gets involved clear down to that "F" and to be cut off at the "C". I can't explain it. It's as if somebody were standing right next to you while you were playing and you just kept having the feeling like: "I can't go there; I can't go there." It does something to me. Whereby [sic] having the full keyboard just opens up a world of things to me.
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About Clare Fischer
Douglas Clare Fischer (October 22, 1928 – January 26, 2012) was an American keyboardist, composer, arranger, and bandleader, best known for his innovations in the fields of Latin jazz and vocal arranging (as well as his integration of the two), and for his preeminent position among late 20th-century orchestral arrangers of popular music. TOC
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Douglas Clare Fischer
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Additional quotes by Clare Fischer
When I first heard the songs of Mario Ruiz Armengol I responded in awe at the totality of their musical expression. Mario's harmonic sense was one that I had never encountered in most Latin music; melodies which in themselves were distinctive and lingered in your mind after only one hearing; profound emotional content without being hyper-romantic in conception. Some of them seemed almost brooding in character, filled with a feeling of melancholia and reflecting the depth of his personality.
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Bill and I were pretty much the same age bracket, and strangely enough, we both went through the same influences, starting with Nat Cole, going into Bud Powell during the bebop period, and then getting into the Lennie Tristano school orienta—in my particular case, Lee Konitz more than Lennie. I mean, in an era when everybody else was playing funky piano, we... I suppose, in a general category, that made us both the same. Whereby [sic] to my mind, we were both radically different. But after I put out that first album, the reviews started off by saying, "Clare Fischer owes much to Bill Evans." And then, when I would write an album, they would say "Clare Fischer owes much to Gil Evans." And I would call that my Evans brothers syndrome.
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