John Powers

I like to call it spontaneous composition, which is this difference between improvisation and spontaneous composition. You frame it in your mind first. You map it out and you create a form and then you allow for surprise. But you're really just executing on this thing that you compose before sitting at the piano. And it can be different every time.

So this has a bit of a structure that is on the album, but every time I play it, it's going to be different.

So this has a bit of a structure that is on the album, but every time I play it, it's going to be different.

So this has a bit of a structure that is on the album, but every time I play it, it's going to be different.

Bye.

Bye.

Bye.

so so

so so

so so

Well, when you think about the blues and Beethoven's music, his music was actually deeply African, you know, rhythmically. There was this thing that's happening in his music that I really love, where he's playing in two different times at once. He's composing, and it's in a two-meter, one, two, one, two, which is like a march. And waltzes.

Well, when you think about the blues and Beethoven's music, his music was actually deeply African, you know, rhythmically. There was this thing that's happening in his music that I really love, where he's playing in two different times at once. He's composing, and it's in a two-meter, one, two, one, two, which is like a march. And waltzes.

Well, when you think about the blues and Beethoven's music, his music was actually deeply African, you know, rhythmically. There was this thing that's happening in his music that I really love, where he's playing in two different times at once. He's composing, and it's in a two-meter, one, two, one, two, which is like a march. And waltzes.

One, two, three, one, two, three, one, two, three, one, two, three. So if you put the march... And the waltz together, you get a two against three, an odd against an even, which is the West African rhythm, the 6-8 rhythm that comes from Africa that leads to the American shuffle rhythm, which is the clave of the blues, if you will.

One, two, three, one, two, three, one, two, three, one, two, three. So if you put the march... And the waltz together, you get a two against three, an odd against an even, which is the West African rhythm, the 6-8 rhythm that comes from Africa that leads to the American shuffle rhythm, which is the clave of the blues, if you will.

One, two, three, one, two, three, one, two, three, one, two, three. So if you put the march... And the waltz together, you get a two against three, an odd against an even, which is the West African rhythm, the 6-8 rhythm that comes from Africa that leads to the American shuffle rhythm, which is the clave of the blues, if you will.

It's the base rhythm for so many popular styles of music and styles of music since the beginning of rhythm.

It's the base rhythm for so many popular styles of music and styles of music since the beginning of rhythm.

It's the base rhythm for so many popular styles of music and styles of music since the beginning of rhythm.

There's polyrhythms. Even in that short theme, you're hearing the two and the three. Short, short, short, long, short, short, short, long. When you put those together, it creates something that is infectious that whether he was referencing that or not, it's something that's a universal, connective, magnetic truth in music.