John Powers

And he's someone who, through his experience playing on the Chitlin circuit, doing all these incredible performances from, you know, the likes of Isaac Hayes. And I remember they played the same bill as the Jackson 5 at one point early on. And just his stories of...

you know traveling he'd always wished that he could go to a school like Juilliard and do something like that so you know it's for the legacy of my family and um I mean now fast forward a decade later I'm on the board and I'm helping to change the place for folks who come in there like me who are maybe not the uh the the typical conservatory musician student

you know traveling he'd always wished that he could go to a school like Juilliard and do something like that so you know it's for the legacy of my family and um I mean now fast forward a decade later I'm on the board and I'm helping to change the place for folks who come in there like me who are maybe not the uh the the typical conservatory musician student

you know traveling he'd always wished that he could go to a school like Juilliard and do something like that so you know it's for the legacy of my family and um I mean now fast forward a decade later I'm on the board and I'm helping to change the place for folks who come in there like me who are maybe not the uh the the typical conservatory musician student

Oh, yeah. This is one of the things I love the most. I'll just start with the first chord. It's D minor. All intents and purposes, D minor, okay? So now I'm going to voice this chord with the same notes, but it's going to sound completely different based upon what voices I bring out. Now this is one element of a world of nuance that I learned from my mentor, William Doglian.

Oh, yeah. This is one of the things I love the most. I'll just start with the first chord. It's D minor. All intents and purposes, D minor, okay? So now I'm going to voice this chord with the same notes, but it's going to sound completely different based upon what voices I bring out. Now this is one element of a world of nuance that I learned from my mentor, William Doglian.

Oh, yeah. This is one of the things I love the most. I'll just start with the first chord. It's D minor. All intents and purposes, D minor, okay? So now I'm going to voice this chord with the same notes, but it's going to sound completely different based upon what voices I bring out. Now this is one element of a world of nuance that I learned from my mentor, William Doglian.

Now, pressing the key, all of your sound comes from this very inside baseball. All of your sound comes from the first joint of your finger. So these are different sounds that you can get just using that first joint.

Now, pressing the key, all of your sound comes from this very inside baseball. All of your sound comes from the first joint of your finger. So these are different sounds that you can get just using that first joint.

Now, pressing the key, all of your sound comes from this very inside baseball. All of your sound comes from the first joint of your finger. So these are different sounds that you can get just using that first joint.

Well, there's certain aspects of it that are for show and certain aspects of it that are real. You know, there's a... a beauty in developing your own technique at the instrument. You know, I learned a lot from William, and I learned a lot from Monk, and I learned a lot from a lot of the different pianists that I grew up listening to in New Orleans, and you develop your own pedagogy.

Well, there's certain aspects of it that are for show and certain aspects of it that are real. You know, there's a... a beauty in developing your own technique at the instrument. You know, I learned a lot from William, and I learned a lot from Monk, and I learned a lot from a lot of the different pianists that I grew up listening to in New Orleans, and you develop your own pedagogy.

Well, there's certain aspects of it that are for show and certain aspects of it that are real. You know, there's a... a beauty in developing your own technique at the instrument. You know, I learned a lot from William, and I learned a lot from Monk, and I learned a lot from a lot of the different pianists that I grew up listening to in New Orleans, and you develop your own pedagogy.

You know, I like to play with rings on. There's something about the equilibrium of my hand that when I have a pinky ring on, it really establishes a certain sort of attack and balance, and there's a certain ictus to the sound that I like.

You know, I like to play with rings on. There's something about the equilibrium of my hand that when I have a pinky ring on, it really establishes a certain sort of attack and balance, and there's a certain ictus to the sound that I like.

You know, I like to play with rings on. There's something about the equilibrium of my hand that when I have a pinky ring on, it really establishes a certain sort of attack and balance, and there's a certain ictus to the sound that I like.

Absolutely. piano plays softly A piece full of nuance.

Absolutely. piano plays softly A piece full of nuance.

Absolutely. piano plays softly A piece full of nuance.

There's a deep sense of connectivity that you have. with your soulmate, whether you meet somebody who just gets you, you look them in the eye and they see you and you see them and then you come inches away from the veil, you almost lose that person.