#Keith Jarrett

[de-salva]

KEITH JARRETT - Summertime

The 100th Performance In Japan (1987)

[jazzplusplus]

Jazz Hot #324 (France) - février 1976 - Keith Jarrett

[jt1674]

[didierleclair]

KEITH !

[chantssecrets]

Keith Jarrett

[zurich-snows]

Köln, January 24, 1975, Part I (Live)

[cosmonautroger]

Keith Jarrett, Miles Davis, 1971, Italy

[caviarsonoro]

Keith Jarrett  - Pt. VII - Salle Pleyel, Paris (Live)

Keith Jarrett's performance in "Pt. VII - Salle Pleyel, Paris (Live)" is a masterpiece of musical introspection, where improvisation becomes a dialogue between the artist and his instrument. From the very beginning, Jarrett creates a contemplative atmosphere with a delicate use of the pedal and carefully nuanced dynamics. The melodic lines emerge like whispers that transform into firmer statements, guiding the listener through an intimate and emotionally charged soundscape. The connection between each note feels almost tangible, as if every sound were part of a delicate narrative thread.

The structure of the piece is a display of controlled spontaneity, where moments of tension intertwine with passages of harmonic resolution, creating an emotional journey that keeps the listener in constant anticipation. Jarrett plays with ambiguity and clarity, oscillating between technical complexity and melodic purity. Each section flows naturally into the next, giving the impression that the music is writing itself in real time, while the pianist channels universal emotions with an almost superhuman precision.

Toward the end, Jarrett closes the circle with a subtlety that highlights his artistic genius. The music, which seemed to explore uncharted paths, unexpectedly yet naturally returns to its initial motifs, completing a narrative that, though improvised, possesses an inherent coherence. This return is not merely technical but deeply symbolic, like a final sigh that unifies the experience. In this moment, the listener feels the fullness of a work that has not only been performed but lived, once again proving that Jarrett is a master at transforming improvisation into a transcendent art form.

[de-salva]

KEITH JARRETT - Radiance 12/17

Radiance is a double-album, recorded in October 2002 in Japan at two different concerts — Osaka (October 27) and Tokyo (October 30).

[jazzplusplus]

1975 - Keith Jarrett - ECM Records - distributed in Japan by Trio Records

[jt1674]

[doomandgloomfromthetomb]

Keith Jarrett Trio w/ Orchestra - Stefaniensaal, Graz, Austria, November 7, 1975

Keith Jarrett's famed Köln Concert was recorded just about 50 years ago last month, and in these wild times, it remains a beautiful, entrancing escape. That solo tour of Europe was just the beginning of a very busy 1975 for Keith, of course, and in the fall, he was back on the Continent doing the opposite of a solo tour — this audience tape captures the pianist with Jan Garbarek (saxophone), Charlie Haden (bass), plus a full orchestra conducted by Alois J. Hochstrasser. Sometimes rich and soulful, sometimes scarily abstract (sometimes both at once?), it's a thoroughly adventurous 90 minutes of music.

Keith Says: You have to live through certain experiences before you can actually put into play certain things. For example, I used to say to my students, “Play like you think it’s going be the last time. That’s the only way to play.” And when I told them that, I hadn���t had that experience. I just knew that was basically correct. Okay, so certain things happen to you in your life. Let’s say you get a divorce. Your house burns down. You have big experiences. And you get chronic fatigue syndrome. Or you get some kind of problem with your physical health, your hands. If you can still play, you have to play as though it’s going be the last time. When you get more and more towards that, it’s more and more true. So you can actually do better work, because it’s real. It’s not theoretical.

[joshhaden]

Keith Jarrett's LP Death And The Flower (1975, Impulse) includes his tune "Prayer". w/ my father, saxophonist Dewey Redman, drummer Paul Motian, percussionist Guilherme Franco.

[dreaminginthedeepsouth]

"Once Miles Davis asked me, “How do you play from nothing?” And I said, “You know, you just do it.” And that actually is the answer. I wish there were a way to make “I don’t know” a positive thing, which it isn’t in our society. We feel that we need to “know” certain things, and we substitute that quest for the actual experience of things in all its complexity. When I play pure improvisation, any kind of intellectual handles are inappropriate because they get in the way of letting the river move where it’s supposed to move."

Keith Jarrett

[alesario]

Keith Jarrett, Milano, 1983.

photo Guido Harari