The violinist I am playing with is thinking to learn Sinding Sonata and Bowen sonata. That would be perfect for us.
I think he is going to take time thinking. He is very thoughtful. We have different approaches. I like to improvise and play differently almost every time I am playing. He likes to prepare and plan everything. He tells me how he is going to do every rubato.

I tell him don't do that. I will hear it and adjust accordingly. There is no need. But he still insisits and tells me in detail. Now I can see that it is very useful.
 At the end when people perform in public it turns out differently and one can not play exactly the same. Public performances are very useful because it can change the whole approach to the piece. You can hear that it doesn't work with the audience.

A, I find that what he does (explains to me how he does his rubato) very useful. I learn from him how he is thinking about phrases.
I don't tell him how I think, but he can hear it.

I still have not heard from him. I don't know if he will call at the end or change his mind about playing with me. I really don't know. I have to wait and see. I am playing Bowen preludes by myself when I have time. I like some better than others of course. And my likes and dislikes change depending on my mood.
At first I thought I will play Preludes in E flat major and E flat minor, but now I decided I will play Preludes in E flat major and F major. They are both very amacile (the first Andantino amabile, the second is Andante con moto e grazioso). They are short and I feel one amacile prelude is not enough).

In the 1940s Sorabji wrote of them as "the finest English piano music written in our time", but the he would, wouldn't he? They were dedicated to him. [Edit: In fairness, I believe they were dedicated to Sorabji after he wrote his flattering words] My favourite York Bowen works tend to be the rather meatier sonatas, whether for piano or solo instrument with piano, and the chamber music. But then there's much I haven't heard. The shorter piano pieces are perhaps less impressive, but this set wins on sheer variety as one might expect from a set of 24. For an English listener they do have a rather homespun quality and, unusually, a definite Russian orientation rather than anything very much of the Germanic. The homespun element seems most noticeable in those pieces where the harmony is the chief focus - no. 16 in G minor being a memorable example. I find that one pretty magical, but would be quite understanding if a Central European, say, would not be attracted, so "English" does it sound, at least to me.
I'm a bit puzzled by your mention of jazz influences, Turfers. I wonder where you find them. At times he gets into Billy Mayerl territory (eg., no.14 in G major), but I certainly don't regard Mayerl as jazz. I'll post again - there are a couple of things to look up.

What language are we in now? French?

I see. But you wrote amacile (twice)!

Incidentally, there's not a great deal written about York Bowen which shows much insight into his music. Monica Watson's booklet, though containing useful information, is not much use on this level and the Grove article is very thin. There are a couple of CD enclosures which are good, however. I notice that the York Bowen Society has reproduced the one which accompanies Stephen Hough's CD. It's downloadable at

http://www.yorkbowen.co.uk/articles.htm

I see that Hyperion's Romantic Piano Concerto series is turning its attention to York Bowen, including the first recording of the 4th Concerto: http://www.mdt.co.uk/MDTSite/product//CDA67659.htm