... and what does that have to do with phrasing?
Let's clarify three things here:
1. Automatic fingering based on bellows change and so forth does influence the style.
2. I agree that it has little to do with artistic interpretation per se, however, in-out of the bellows is one of the most powerful phrasing instrument we have. It includes two variables:
a. In-out itself, no need to blabber about it and
b. Necessity of in-out influences dynamics of even phrases fingered in one direction. Our brain gets ready for bellows change and either we may slow down, or do a powerful punch right before the change/ or whatever else. It seems to be out of our control, yet gives music a feel.
3. When someone like Danny Chapman enters discussion, we need to switch gears. Our usual definitions, like "good job", "wonderful playing", "expressive dynamics" - have to be toned down quite a bit. To Danny I answer: "Danny, you are right, there is NO automatic phrasing in Anglo". But to lesser players like myself I will whisper: "Yes there is".
Now that's the Misha whose postes I love to read. Danny does necessitate a change of gear...and then we still have no chance we'll ever appear in his rear view mirror.