Wheeler specializes in languid, questioning themes that practically force him to think in expansive terms when soloing. The title suite, which lasts nearly thirteen minutes, moves through long rubato passages into broken samba-like grooves and, eventually, a more assertive choppy swing.
When Wheeler makes his entrance, he doesn't barge in; rather, he glides, taking care not to step too heavily on any one beat. Follow closely as he develops his solos, however: Wheeler frequently ventures into the trumpet's extreme upper register, where brute force is often needed, and somehow hangs onto his innate sense of lyricism. Believe the title: His high notes are a new kind of high. Gnu B Minor - Tatiana Nikolaieva* - Piano Recital (Vinyl is also notable as the rare date from this period where Keith Jarrett appears in a supporting role.
That's also a function of tone: Because Wheeler's sound is so warm and inviting, everyone around him plays that way too. With a potent quartet consisting of two former members of Ornette Coleman's group in tenor saxophonist Dewey Redman and bassist Charlie Haden, along former Bill Evans drummer Paul Motian, Jarrett and his crew performed material from 's Shades which has since gone out of print and is only available now as Japanese import.
Jarrett's quartet opens this July 3rd performance with a ruminative solo piano improvisation that gradually develops into an energized workout on the keys before returning to the evocative theme. Jarrett and Redman double on the head while Haden's insistent walking bass lines propel the tune behind Jarrett's swinging solo. Following a repeat of the head, Redman takes off on an exhilarating, boldtoned tenor solo with Haden's grooves still providing the rhythmic propulsion underneath Motian's incessantly swinging ride cymbal work.
Redman adds some heat of his own on this uptempo burner that straddles the inside-outside aesthetic with some passionate tenor blowing that tips over into the Albert Ayler zone. This intensely freewheeling piece concludes as it started, with a frantic fusillade on the kit by Motian. Redman's tenor solo here is suitably gritty and full of the funk factor. This Newport Jazz Festival concert closes on a poignant note with a delicate waltz-time number that opens with solo piano and builds to a moving crescendo as the band enters midway through.
Ginell With saxophonist Jan Garbarek and bassist Charlie Haden along for the ride, Keith Jarrett indulges in three slow, rambling, meditative, vaguely neoclassical concertos for piano and string orchestra. While a few of Jarrett's and Garbarek's passages here and there have a syncopated jazz feeling, this is mostly contemporary classical music, perhaps even somewhat ahead of its time it might fit in with the neo-Romantic and minimalist camps today.
Mladen Gutesha and the Stuttgart Radio Symphony Orchestra perform the string parts with what can only be described as commendable patience. Jarrett 2 Mirrors K. Jarrett 3 Solara March K. Jarrett Rose Petals take 4 K. Jarrett Rotation take 1 K. Jarrett Mysteries take 1 K. Mysteries mixes avant-garde with exotic melodies that find the musicians incorporating Pakistani flute, Chinese musette, and an abundance of percussion.
Shades includes extra percussion supplied by the entire band, with Jarrett and Redman sticking to their main instruments, continuing exploratory, yet melodic music, played with a bit more heat than on Mysteries. New liner notes are absent, but the original packaging -- front and back cover art and liner notes -- remain intact. Jarrett Shades Of Jazz take 3 K. Jarrett Flame take 1 K. Jarrett Playaround take 1 K. Jarrett Rose Petals take 1c K.
Jarrett Shades Of Jazz take 1a K. Jarrett 8. Jarrett Southern Smiles take 4 K. Jarrett Diatribe take 1 K. Jarrett 7. Jarrett 3 Backhand K.
Percussion soon punctuates the melodic line to give the opening a more spiritual, ritualistic feel, which is only the first of many mutations that this album will go through. Jarrett has strong solos in both the first and second track, but his performances rise to the surface frequently to add warmth to the suite. The greatest contribution that he makes on this album, however, is as a composer, as its complex components seem to nestle together seamlessly again and again, even if the solos occasionally rapidly expand and contract with kinetic energy.
As strong a hand as Jarrett has in this album, however, he definitely owes a debt to his supporting players, especially the passionate Dewey Redman and skilled Paul Motian, but Charlie Haden plays an important role in the execution of the suite as well, even if only to provide a skeleton to hang the more fluid elements on.
Like other albums of its time, this was beginning to show the brightness, lightness, and soft edges of contemporary jazz, but the solidness of Haden's bass helps keep it rooted and earthbound.
Ginell : The fourth of Keith Jarrett's solo piano albums turns inward, away from the funky, pulsating melodic inventions of its predecessors toward a more reflective, scattered, never-despairing romanticism well removed from the pulse of jazz.
As such, it is paradoxically his weakest solo piano album of the '70s and also the most influential, for here is the blueprint for sensitive meandering that the New Age piano crowd took off upon in the s.
One can always admire Jarrett's lovely tone and flexible touch, yet when he gets stuck for ideas, the repetitions finally begin to grate. Maybe he really needs the stimulus of a live audience in order to get the creative and rhythmic juices flowing when flying solo. LP) I 2. Track II 3. Track III 4. Track V incomplete 6 encore the same as Bremen 73 tt before pitch corrrection Jarrett encore 1. Encore I 3. Encore II 4. Part 1 Part 2 Track 3 KJ talks 5.
LP) solo With orchestra 1. Track 5 2. Track 6 3. Track 7 4. Track 8 5. Track 9 6. Track 10 7. Track 11 8. Track 12 1. Part IX Information Audience recording. Part I and Part II are solo pieces. Directed by Dennis Russel Davies. Originally a two-LP set, this minute suite was whittled down to a very spare 40 minutes when, with the advent of compact discs, ECM began reissuing back catalog.
Beyond cost, in the ensuing decades it has gained its more rightful place as more than just a unique recording in Jarrett's discography, but an important one as well. Jarrett's solo improvisations have always possessed an inherent spirituality but, performed on baroque organ, rarely has it been so far to the fore. The reissue is also a first for ECM: a mini-LP gatefold that, with the CDs in wax paper sleeves, replicates the original as closely as possible.
Paris 1. Rotation [beginning missing]? There is some confusion about the date. It could be September 18,even though the FM speakers say it is dated Sun Bears Kyoto concert in where he also played Song of the Heart may confirm that. Mandala 8. Ginell: [-]This gargantuan package -- a ten-LP set now compressed into a chunky six-CD box -- once was derided as the ultimate ego trip, probably by many who didn't take the time to hear it all. You have to go back to Art Tatum's solo records for Norman Granz in the '50s to find another large single outpouring of solo jazz piano like this, all of it improvised on the wing before five Japanese audiences in Kyoto, Osaka, Nagoya, Tokyo, and Sapporo.
Yet the miracle is how consistently good much of this giant box is. In the opening Kyoto concert, Jarrett's gospel-driven muse is in full play, up to the level of his peak solo performances in Bremen and Koln, and the Osaka and Nagoya concerts have pockets of first-rate, often folk-like, even profound, lyrical ideas.
The Tokyo concert takes a while to get in gear, but when Jarrett finally locks into one of his grooving vamps, he carries us along, and there is a memorably melodic encore. Each concert is placed on a single CD, while the much briefer sixth disc is reserved for the encores from Nagoya, Tokyo, and Sapporo.
While Sun Bear breaks little ground that his earlier solo piano albums had not already covered, it is nevertheless richly inventive within Jarrett's personal parameter of idioms. If price is not a barrier, the Jarrett devotee need not hesitate.
These musicians who are equals have played together many times through the years and their support of each other and close communication during these advanced improvisations is quite impressive. It's a good example of Peacock's music. Also, the piece begins in a mournful way unusual for the usually optimistic Jarrett. In any case, it is a thoughtful, absorbing composition, thoroughly tonal harmonically, played with assured technique and appropriate use of classical expressive devices by Davies.
Bart B. The woman left promptly through an exit. My Song 9. The Windup 8. I still have a ticket stub from that concert. Track01 Track02 The Journey Home Country Mandala Late Night Willie Part I 2. Moonchild 3. Country 4. The Windup [fade out at ] 5. My Song 6. My Song Interrupted 7. Jarrett contributed all six compositions and the results are relaxed and introspective yet full of inner tension. Part04 5. At that time, it was reckless of Koinuma to have promoted a con-cert of a jazz player, in itself at the biggest venue known by the appearances of pop and rock music superstar in the world, however, considering that there had been no problems about acoustics before at the recital of a noted pianist of classic music, Koinuma had sounded Mr.
Jarrett on this project, and he had taken a decisive step to play at Budokan, B Minor - Tatiana Nikolaieva* - Piano Recital (Vinyl. Usually, a stage will be set at the one of the four corners of the coliseum style hall 10, people admittedbut Koinuma set up a stage at the center of the hall and there had never been such a concert that 12, audience had been listening to his acoustic sound, surrounding Keith Jarrett.
At the moment a dead silence fell over the audience, just before the opening of the concert, the air-conditioner of the venue discovered to be felt as a noise, had been immediately stopped. The audience had been satisfied with his performance in the genuine silence in the middle of cold winter. Sometimes overlap with interviews 1. Solo Quality: A Source: audience recording 1. Track I 49 2. KJ joking 1 3. Also, I recall the beginning of the concert was delayed because someone coughed and he glared out into the dark concert hall, waited several minutes and asked rhetorically if he could proceed - no one dared say anything.
He then played wonderfully. Ginell It is very much out of character for the prolific Keith Jarrett and his producer Manfred Eicher to hold anything back, yet they've done it here, releasing these live tapes of Jarrett's European quartet ten years after they were recorded.
Presumably, they did it in order not to distract attention from Nude Ants, which was recorded a week after these concerts, but that never stopped them before from just piling on more discs. In any case, these Tokyo recordings were too good to hide; the quartet had reached an interactive creative high around this time, often burning at the rarified level that Nude Ants reached.
Jarrett is both lyrically effusive and able to ignite his European colleagues into giving him more swinging support than on earlier sessions. Jan Garbarek is especially forthright in Tokyo on tenor, while his soprano pierces like a beam of sunlight, and Palle Danielsson bass and Jon Christensen drums are loose, relaxed, and impeccably recorded.
Clearly this is one of the peaks of the European quartet's discography. Nude Ants, easily one of his most uplifting live dates this time at the Village Vanguard on record and the pinnacle of his quartet activities, exemplifies this to the nth degree.
The second half of this heavy loaf slices much like the first: in slabs of wing-beats and half-words. Out of this measured catharsis Jarrett waters his colors in a solo tour de force. Mounting intensities from Christensen underscore a fluttering resolution.
And yet, as with everything in this set, it is tempered by an intense feeling of perpetuity that renders every potential end into a pathway of renewal. In spite—if not because—of the idiosyncratic strengths of its performers, this is ensemble jazz at its freshest. Garbarek lets loose in ways seldom heard outside of Sart, while Danielsson and Christensen are so good together that I would be nearly as content listening to just the two of them for the entire set.
Everyone here is aflame. Together, they light the world. An indispensible classic. I sat there clapping. Jarrett encore reprise 6 My Song K. B Minor - Tatiana Nikolaieva* - Piano Recital (Vinyl 7 Juan-les-Pins, July 25, K.
Jarrett encore 8 Juan-les-Pins, July 25, K. Jarrett Part 2 2 Closing announcement There are several places on this recording, especially on the first improvisation, where the speed fluctuates dramatically. I guess you had to be there. The crowd recognizes it and applauds as Jarrett begins. Here we have two radically disparate works involving different timbres, attacks and mindsets, both within themselves and with each other. Bach, with Jarrett improvising on the clavichord, harpsichord, and piano.
A review of the concert described the audience reaction as ecstatic. Part II 3. Keith Jarrett only played one. Keith Jarrett played Bartok Second Concerto.
Over the rainbow 5. Troup — L. Worth 9. Kern — O. Hammerstein 7. Rodgers — L. Hart 6. Wrubel — H. Magidson 5. Herzog — B. Holiday Wilder — W. Engvick — M. Palitz 8. Kern — L. Robin 7. Evans — J. Livingston 7. Rainger — L. Robin 8. Cahn — J. Styne 5. Part I [beginning missing, cut at and ] Part II [beginning missing?
Set: 1 Title fade-in CD2: 2. Set I 2. Set II 3. Date conflict with New York concert above. Scarlatti: Sonata f-minor K D. Scarlatti: Sonata D-major K J. Bach: French Suite No. Shostakovich: Prelude and Fugue e-minor from 24 Preludes and Fugues op 87 21 23 25 26 October 20, October 21, October 23?
I Fall in Love Too Easily So Tender Rider Jarrett: Sonata for Violin and Piano K. Jarrett plays 18 instruments, using multi-tracking to strut his stuff. Washington — V. Young Engwick 8. Hart 8. Adamson — J. McHugh Fields — J. Kern 9. Lewis — N.
Adderley 6. The Way You Look Tonight 9. Old Folks 1. God Bless The Child 3. Late Lament 5. Falling In Love With Love 6. It's easy to remember 8. I Wish I Knew 9. With a Song in My Heart 2. Georgia on My Mind 4. According to ecm-records. From koinumamusic. Stella By Starlight 3. Unknown title 4.
My Ship 5. Golden Earrings 3. Lament 4. Straight, No Chaser 5. I Remember Clifford 6. Straight No Chaser Hart Kozma — J. Mercer — J. Prevert Young — E. Heyman 8. Hammerstein Arlen — J. Mercer Ginell Once Keith Jarrett gets into a concept, he likes to keep those tapes rolling. This two-disc live outpouring from aStandards Trio gig at Munich's Philharmonic Hall was the biggest offering from this group up to that time it wouldn't hold that distinction for long -- and once again, Jarrett treats his brace of pop and jazz standards with unpredictable, often eloquently melodic and structural originality.
Again, the rapport with his onetime jazz-rock associate, drummer Jack DeJohnette, and bassist Gary Peacock is total; DeJohnette's mastery of shifting cymbal patterns while maintaining the pulse acts on the trio like a loose tether made of carbon steel.
There is a considerable amount of Jarrett vocalizing, though; sometimes he sounds like a tortured animal. Jarrett No. Jarrett 9. This carries Jarrett's anti-electric crusade to a real extreme, the clavichord being a keyboard from J. Bach's day, obsolete for over years. The instrument produces a gentle pinging sound like a harpsichord crossed with a zither the amplified Hohner Clavinet is the closest sound in our timeand Jarrett occasionally tries to stretch the instrument's limited possibilities, hammering percussively on the close-miked strings.
Yet for the most part, Jarrett reins in his world-class technique in order to make unpretentiously minimal music on this ancient keyboard. Some of it sounds like folk music, some like new age contemplation, there are convincing neo-baroque musings, and a few of these untitled though numbered selections kick into a higher gear. Sometimes this music is charming; a lot of the time, it gets wearisome.
But hey, they also laughed when Keith started putting out massive sets of solo piano These remarks seemed to be Mr. Jarrett's apology for the dearth in his concert of the sort of late-Romantic chromaticism that has established him as the artistic heir of Bill Evans. Only in one brief encore did he let loose with the cascading piano runs springing from a postChopin harmonic palette that have made him so popular. It has been some 15 years since Mr.
Jarrett began performing solo improvisatory concerts, and in that time, his style has grown progressively more austere. Instead of long, winding improvisations that flit from style to style, Mr. Jarrett's inventions on Friday tended to be short, self-contained fragments in search of compositional form. The lush harmonic vocabulary of Gabriel Faure, while still a noticeable influence, is now surpassed by the drier style of Erik Satie.
Jarrett Hymn K. Jarrett Americana K. Jarrett Entrance K. Jarrett Parallels K. Jarrett Fire Dance K. Jarrett Ritual Prayer K. Jarrett Recitative K. Ginell This live solo piano concert at Tokyo's Suntory Hall is not a solo concert in the usual freewheeling Jarrett sense. Rather, it sounds like a formal recital of individual compositions, each followed by applause unlike the improvised concerts where applause only comes at the end of a set. The Jarrett devotee will want this; others should use caution.
Review by Richard S. Each of the first three selections is built upon a constant revolving ostinato, and each evolves from one stage to the next like aJarrett solo piano improvisation. Jarrett may spout off about society's self-centered soullessness in his querulous liner notes, but he and his trio have clearly backed his words by example, pulling off a genuine collective musical experience. Paul Chamber Orchestra orchestra St. Freeman — J. Gladstone Blues Keith Jarrett Ginell The self-imposed quarantine on solo concerts over, Keith Jarrett returned to the improvisatory format that he virtually invented, mellower and more devotional than ever.
Indeed, within the 38 minutes of solo improvisation captured at Paris's Salle Pleyel, Jarrett pulls further away from the old rousing and thoroughly American gospel, blues and folk roots of earlier concerts toward a more abstract concept. Opening with a soaring, lyrical canonic melody, he rambles through his familiar obsessive hammering, grand tremolos, and the like before topping it off with an ethereal tune that turns somber.
Again, Jarrett's virtuosic abilities are never in doubt, and he rarely flaunts his technique for its own sake, but one senses that the inspiration level is down; one doesn't come out of the CD all charged up as with many earlier solo concerts. Part 2. Encore I 4. Encore II: The Wind 5. October 24, - Set 1 2. Ginell [-] Wanda Landowska brought the Goldbergs out of hiding on the harpsichord in the '40s and Glenn Gould made them a bonafide hit on the piano in the '50s, opening the floodgates for keyboardists of all stripes.
So, in one of his earlier recorded voyages into the classical world, Keith Jarrett is up against an imposing legacy as he tackles what has become the most famous set of variations in Western music. First, he chooses to play them on a double-manual harpsichord -- which makes the task somewhat easier, avoiding the finger-tangling cross hand difficulties that can trip up a piano performance.
Second, he doesn't seem to treat the Goldbergs as a single cycle, inserting pauses between each variation to create 30 little pieces, bookended by the two renditions of the aria which is perfectly acceptable. He's not in any hurry, not tempted to showboat or flaunt his considerable technique -- and in no way does this jazz pianist try to make the variations swing a la Jacques Loussier. The added ornamentation seems to be random and so are his observance of the repeats; he only does so in ten of the variations.
As a result, we are left with a technically adept, sometimes aimless, intelligently conceived, ultimately not very moving or exhilarating rendition of the music -- a confirmation of Jarrett's keyboard prowess for his fans, but not much in the way of competition for the brass ring among Goldbergs. Applause 2. I Loves You Porgy 3. I Love You 5. Someone To Watch Over Me 6. Everything Happens To Me 7. The Wind 8.
I Should Care 9. U Dance Disc II Applause Sweet And Lovely Solar Unknown Ballad A Nightingale Sang in Berkeley Square I'M a fool to want you Summertime Smiling pause Round About Midnight Stormy Weather Green — B. Comden — J. Styne Robinson — D. Hill Fain — P. Webster 7. Chaplin — H. Zaret Freed — B. Lane 5. The music that they create is in some ways an update of the type of interplay that took place between Bill Evans and his sidemen, where all three musicians often act as equals although Jarrett, like Evans, has most of the solo space.
Jarrett's vocal sounds are more restrained than usual while his piano playing is in peak form. Ginell [-] The Keith Jarrett Standards Trio gets back down to business with two CDs' worth of familiar and perhaps not-so-familiar tunes, recorded in one evening in Cologne, Germany. While the Standards Trio rarely takes anything for granted, transforming everything in its path, the results are not quite as inventive here as on other releases, though Disc Two is clearly more interesting overall than Disc One.
Livingston — R. Dubin — H. Dennis — T. Lover man 2. I m a fool to want you 3. Little girl Blue 4. All of you 5. Levant — E. Young — J.
Evans 8. Ginell Sure, the Keith Jarrett Trio of the '80s and '90s recorded way too much music for the casual fan to absorb.
But one's reservations fade when confronted with the sheer creativity and empathy that the trio displayed in this gorgeously recorded live date at New York's Town Hall. As in several albums before, the emphasis for Jarrett, Gary Peacock andJack DeJohnette is on standards, save for a sole ostinato-based Jarrett original the title track.
There is some squeaky vocalizing by Jarrett over some of his solos, but not enough to deter anyone from enjoying this 77minute outpouring of first-class improvisational jazz. And why not? The qualities that distinguished Petri's playing of Albinoni and Vivaldi and the qualities that distinguished Jarrett's playing of Bach are equally present in their joint Handel. Petri flies through Handel's Allegros and sighs through his Adagios just asJarrett soars through Handel's continuo part as if it were far more than merely accompaniment.
But while one cannot help but admire their playing individually, one cannot help but regret that their performances seem so separate and even disconnected. Petri and Jarrett are each in their own musical worlds. For Petri, melody is everything, while forJarrett, rhythm is everything. And while the twain do meet at cadences and double bars, for too much of the time they seem to be all but unaware of each other.
Over The Rainbow Blues Over the Rainbow 4. Blues 5. Jarrett Vienna, Pt. Part I develops in a majestic minute arch, opening with a simple chorale, devotional and trenchant, and suddenly kicking into a daring, complex, agitated toccata without a key center, technically dazzling and darting. That coalesces into a grand tonal passage with inferences of the great European piano concertos before subsiding into a quietly affirmative finale. Part II is shorter and less rigorously structured, surging and ebbing around shimmering tremolos and a brief pulsating rhythm, alternately evoking the Middle East and the medieval Dies Irae.
Jarrett's exalted judgment is close to the mark; though more Eurocentric than ever, these are his most impressive solo performances since Sun Bear. Set 1 2. Sophisticated Lady 3. Unidentified standard ; classic arrangement 4. I Should Care 5. Autumn Nocturne 6. Summertime 7. Old Man River 8.
Ginell [-] Dmitri Shostakovich's epic series of preludes and fugues for solo piano was inspired by the very composer whom you would immediately suspect -Johann Sebastian Bach.
So having conquered theBach work on recordings, Keith Jarrett decided to tackle its 20th century sequel in this two-CD set. Looking at it from one angle, this is Jarrett's most impressive technical achievement in the classical repertoire so far.
Generally speaking, the Shostakovich is more difficult to play than the other classical works that he had recorded previously, and he is clearly up to all of its sometimes fearsome demands. From an interpretive angle, though, Jarrett doesn't get as much out of this music as, say, the late Russian pianist Tatiana Nikolaeva, who gave the first performances of the work. With Nikolaeva, each note is captured and spotlighted in ever-changing lights.
Part of this impression may be due to the sound of his piano, which is treated with ECM's usual soft-focused cloud of reverb. For Jarrett fans who are following his classical adventures, this could be a most intriguing left turn, but those seeking the definitive recording of the pieces would find Nikolaeva more stimulating. Goell — F. Spielman Butch And Butch O. Nelson Summer Night A. Jarrett's writing for strings is masterful here; the lines move and interweave instead of being shoveled on as in some pieces of the '70s, and the compositions have shape and direction.
Most of all, they share a common feeling of reflection and an unabashed willingness to let the instrumental soloists sing. Three of the four works date fromwhile Bridge of Light was written in -- and in the orchestral pieces, ECM has given conductor Thomas Crawford and the excellent Fairfield Orchestra glowing sound.
Though these works have nothing to do with jazz per se, all Jarrett buffs should investigate this music on its own terms. F DurBWV Brubeck Straight No Chaser Th. Monk In your own sweet way 2 My funny valentine 3. Bye bye blackbird 4. His first significant jazz gig was at the Deer Head Inn in Delaware Water Gap, Pennsylvania, and 30 years later Jarrett agreed to perform at the venue again. He played one major piece. It was about 45 minutes of improvisation.
After the break, he played another major piece. It was about 30 minutes of improvisation. He played two encores. The second was a few-minute blues. Applause In your own sweet way Purtroppo direi proprio di no!
E chi sono i grandi interpreti di Handel? Gould, invece, fece degli esperimenti sul clavicembalo moderno senza risultati eclatanti. Jarrett penso sia il primo a dedicare un CD in studio completamente dedicato ad Handel con sette Suites.
Allora veniamo alla prima domanda: sono facili da suonare? Thomas Blues Over the rainbow J. Bach Two-track invention N. Brubeck Wilder Johnson 7. Kern — J. Mann — B. Dietz — A. Schwartz Skylark H. Carmichael — J. Mercer 8. Ellington — T. Persons 7. Prevert — J. Cosma — J. Raye -G. Heyman Burke — J. Styne — S. Persons Kaper — N. Washington My Romance R.
Porter La Valse Blue R. Wilbur No Lonely Nights K. Jarrett Straight, No Chaser Th. Cahn For Heaven's Sake S. Bretton Partners Charlie Parker — K. Jarrett Desert Sun K. Jarrett How About You? Lane Never mind that this same group has already had ten separate releases since ; this box is still well worth getting. Throughout the three nights at the Blue Note, the interplay among the musicians is consistently outstanding.
Ginell [-] Keith Jarrett evidently has carte blanche to do anything he wants at Manfred Eicher's ECM label -- and thus encouraged, he takes ample risks in a field that is swamped with able and formidable competitors.
Mozart's piano concertos may be relatively easy to play but they are notoriously hard to interpret -- that's where the true music-making comes in -- and brave intentions aside, Jarrett cannot do very much with this music beyond playing the notes accurately and cleanly.
Next to Artur Schnabel's old yet still-treasurable recordings of pointed, imaginative eloquence -- or Daniel Barenboim's renderings of expression and depth -- Jarrettis simply a non-starter in numbers 21 and Another problem is the way Jarrett's piano is miked; it sounds distant, with little in the way of dynamic contrast, surrounded with a slight halo of reverb.
One wonders if the engineering is actually fighting Jarrett's sporadic attempts to characterize the music. Dennis Russell Davies and the Stuttgart Chamber Orchestra come off somewhat better in the deal, with streamlined, flowing, somewhat soft-focused introductions influenced ever so slightly by period-instrument bowing practices that became prevalent in the late 20th century.
But at least they use modern instruments, for which many now turned off by grating period-instrument recordings should be thankful. Arlen — E. Harburg I Love You 3. The Cure [beginning missing] 7. Encore II: St. From track 9 to track 13 it rained 1. On Green Dolphin Street 3. Ballad of the Sad Young Man 4. Tangerine 5. Come Rain or Come Shine 2. Oleo 3. Smoke Gets in Your Eyes 4. The Old Country 5. Butch and Butch 6. The Cure 8.
Night and Day Porter 2. Now's the Time Parker 5. Nardis Davis La Valse Bleue Wilbur Woody'n You Gillespie Burke Evans 6. Warren — A. Dubbin 7. Evans 3. Kosma — J. Prevert 7. Ginell Recorded in Tokyo's Orchard Hall before Japanese royalty and a packed house -- and released two years later whileKeith Jarrett was out of action suffering from chronic fatigue syndrome -- the standards trio lives up to its formidable track record of consistency and then some.
Jarrett and perennial cohorts Gary Peacock and Jack DeJohnette are, if anything, even sharper, swinging harder and more attuned to each other than ever.
A jazz pianist performing classical music might be expected to take rubato liberties. Jarrett does not. His reading of the magnificent pre-Romantic D-minor concerto No.
With precision, and power in reserve, Jarrett comes out of the D-minor closer to the conservatism of John O'Connor or Murray Perahia than to the adventures in touch and phrasing of any number of pianists, including Artur Schnabel, Yvonne Lefebure, Eugene List, and, on the rare occasions when he tackled a Mozart concerto, the exquisitely eccentric Glenn Gould.
Mozart's genius lends itself to a wide range of visions. Jarrett's respectful versions of the D-minor concerto, the slightly earlier G-major and the much earlier E-flat major written when Mozart was 21 are good starting places for those who want to enter Mozart's endlessly stimulating universe. Falling In Love Again 3. Late Lament 4. Bye bye blackbirdend missing 6. All Of You 7. Title 8. I didnt know what time it was 9. When I Fall In Love Danny Boy 5. Encore II ballad 6.
Track IIa 3. Blues 6. Hammerstein — J. Heyman — O. Cahn — N. Ginell This is a strangely moving and disturbing document in the long discography of Keith Jarrett: a solo piano album recorded in his rural New Jersey home studio in late at a time when he was reportedly suffering from chronic fatigue syndrome. Also in contrast to Manfred Eicher's usual sonic standard at ECM, the sound is dull and lacking in luster, though some listeners might find that it gives the album a certain homey charm.
Moll — T. Koehler — H. Porter Conception G. Mills — D. Bernier — N. Heyman — V. Young 7. Ginell [-] For Keith Jarrett, this extremely satisfying concert with the Standards Trio on two CDs is a personal landmark, the first for-the-record sign that he had recovered from the chronic fatigue syndrome that laid him low for three years in the late s. Indeed, by the time this Paris gig took place, he had come all the way back -- his technical facilities intact a handful of smeared notes LP)his inventiveness bubbling over.
Old cohorts Gary Peacock bass and Jack DeJohnette drums are back, too, regenerating their propulsive, swinging, collective E. So even those who think they have enough material by this group will be rightly tempted to invest in this document of Jarrett's resurrection. Part I 3. Part II 4. Part III 5. Part V 3. Part VI 4. Part VII 5. Part VIII 6. Encore I: My Ship 7. Untitled When Jarrett was a young piano prodigy without a mainstream reputation, jazz fans loved him and only jazz critics wrote about him.
In the s, Jarrett's audiences made him one of the most bankable jazz musicians on the planet. And yet at the same time he was being written off by hardcore jazzers as a fake-hip conservative.
He was typecast as a slick technician deft and opportunistic enough to graft the mannerisms of 19th-century classical piano music on to 20th-century jazz, bringing in a little country chording and gentle funk, to produce an audience-flattering mix. Jarrett has consistently and refreshingly gone against prevailing wisdoms.
In the s, when a lot of jazz was electric, Jarrett said he wouldn't play anything but an acoustic instrument. Later on, when every leader wanted to play originals,Jarrett started the Standards Trio to find the most personal and modern way he could to reinterpret old Broadway songs. Now, in a 21st-century jazz world in which not only Diana Krall but even Michael Brecker appears mesmerised by the Great American Songbook, Jarrett is playing free-improvised music again.
And that's the story of this disc, a largely free-blowing exchange between the pianist, bassist Gary Peacock and drummer Jack DeJohnette, taken from two nights of live recording at London's Royal Festival Hall in July The first is because we eventually went into an actual song, and didn't play a good enough version of it. By following that route, the pianist is also testing the resolution of worldwide audiences he has built over years of variations on themes you can hum in the street.
It is anyone's guess whether the change has anything to do with the three-year break he took while suffering from chronic fatigue syndrome, from which last year's tour represented Jarrett's triumphant return. It sounded during the concert, and it sounds here, as if this famously all-or-nothing artist is conserving his energies a little more than in the past. He is phrasing more episodically and fragmentedly, opening up spaces for a more conversational group interaction.
Bach [Box Set]. B-2 J. Buy this album at: 3-CD : Amazon. Home Page. Tatiana Nikolayeva Bach's Instrumental Works. Tatiana Nikolayeva - Short Biography.
Piano Transcriptions: Works Recordings. Recordings of Solo Keyboard Works. Tatiana Nikolayeva Piano. Recorded at the Hungaroton Studio, Hungary. Bach: English Suite; Frensch Suite. French Suite No. Other work: English Suite No. Bach: English Suites Nos. Recorded in Moscow, Russia. Melodiya Olympia Mezhdunarodnaya Knig. Recorded at Victor Studio. Bach: Goldberg Variations. Goldberg Variations BWV Bach: Complete Partitas. Bach: Toccata, Fugue, Preludes.
Recorded at Imaichi Public Hall, Japan. Bach: Italian Concerto Etc. Recorded live. Tatjana Nikolajeva plays Goldberg Variations by J. Recorded at St. Toccata No. Bach: Goldberg-Variationen. Recorded at Berwald Hall, Stockholm, Sweden.
Recorded live at Wigmore Hall, London, England. Saulius Sondeckis. Saulius Sondeckis Saulyus Sondetskis. Lithuanian Chamber Orchestra. Recorded live in Moscow, Russia. Theme and four variations : Four temperaments [O-4]. Same recording as [O-4]. Bach: The Art of Fugue. Recorded at Shostakovich: 24 Preludes and Fugues for Piano, Op Shostakovich: 24 Preludes and Fugues, Op.
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