Munich 2016 (Live) Keith Jarrett
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- 1Part I (Live)13:29
- 2Part II (Live)06:52
- 3Part III (Live)05:56
- 4Part IV (Live)03:50
- 5Part V (Live)03:59
- 6Part VI (Live)05:48
- 7Part VII (Live)01:50
- 8Part VIII (Live)07:48
- 9Part IX (Live)03:03
- 10Part X (Live)07:16
- 11Part XI (Live)08:32
- 12Part XII (Live)02:49
- 13Answer Me My Love (Live)04:12
- 14It's A Lonesome Old Town (Live)05:03
- 15Somewhere Over The Rainbow (Live)05:54
Info for Munich 2016 (Live)
A solo concert from Keith Jarrett - recorded at Munich’s Philharmonic Hall on July 16, 2016, on the last night of a tour - finds the great improvising pianist at a peak of invention. Creating a spontaneous suite of forms in the moment with the intuitive assurance of a master builder – interspersing touches of the blues and folksong lyricism between pieces of polyrhythmic and harmonic complexity - he delivers one of his very finest performances. An attentive and appreciative audience hangs on every note, every nuance, and is rewarded with some tender encores including a magical version of “It’s A Lonesome Old Town".
Jarrett’s solo concert recordings form a unique and continually evolving body of work inside his discography. To trace the line that leads from 1973’s Solo Concerts Bremen-Lausanne is to follow an extraordinary musical journey. High points along the road have included The Köln Concert, Sun Bear Concerts - due for vinyl reissue in the coming months -, Concerts (Bregenz München), Paris Concert, Vienna Concert, La Scala, Radiance, The Carnegie Hall Concert, Testament, Creation, A Multitude of Angels, Rio and La Fenice. Munich 2016 brings the story up to date, a document of Jarrett’s most recent European performance, held in ECM’s hometown. The particular intensity of the Munich performance singles it out as one of the truly outstanding concerts. So, too, the flow of its component parts.
The shape of the individual concerts has been transformed, the large arc of the early concerts, with unbroken improvisations spanning an entire set, giving way to performances made up of discrete, tightly focused spontaneous compositions. Since Jarrett embarked on this quest the number of solo improvisers has multiplied exponentially yet his sense for developing motifs and melodies and uncovering forms in real time remains unparalleled. There is, still, nothing else like a Keith Jarrett solo concert. “Through a series of brilliant solo performances and recordings that demonstrate his utterly spontaneous creativity,” the Polar Music Prize committee noted a few years ago, “Keith Jarrett has simultaneously lifted piano improvisation as an art form to new, unimaginable heights.”
"The solo concert is like another world that has its own rules that I didn’t make up.” (Keith Jarrett)
Keith Jarrett, piano
At the end of 2008, Keith Jarrett added two concerts to his schedule at short notice – one at Paris’s Salle Pleyel (November 26), one at London’s Royal Festival Hall (December 1) . The music on “Testament” is from these concerts. Their range is compendious, Jarrett’s improvisational imagination continually uncovering new forms, in a music stirred by powerful emotions. In his liner notes, the pianist is forthright about the personal circumstances promoting a need to lose himself in the work once more.
He also reminds the reader/listener that “it is not natural to sit at a piano, bring no material, clear your mind completely of musical ideas and play something that is of lasting value and brand new.” This, however, has been the history and substance of the solo concerts since Jarrett initiated them, almost forty years ago . Over time their connection to ‘jazz’ has often become tenuous, yet Jarrett’s solo concerts, with the foregrounding of melody and the continual building, and relinquishing, of structure, are also removed from “free improvisation” as a genre. Jarrett’s solo work is effectively its own idiom, and has been subject to periodic revisions by the pianist. “In the early part of this decade, I tried to bring the format back: starting from nothing and building a universe.”
Since the “Radiance” album and the “Tokyo Solo” DVD of 2002 Jarrett has been adjusting the flow of the work, more often working with shorter blocks of material. “I continued to find a wealth of music inside this open format, stopping whenever the music told me to.” This approach distinguished “The Carnegie Hall Concert” (2006), and it is most effectively deployed in “Testament” , where the strongly-contrasting elements of the sections of the Paris concert in particular have the logic of a spontaneously-composed suite. The nerves-bared London performance (the first UK solo show in 18 years) is different again: “The concert went on and, though the beginning was a dark, searching, multi-tonal melodic triumph, by the end it somehow became a throbbing, never-to-be-repeated pulsing rock band of a concert (unless it was a church service, in which case, Hallelujah!).”
In the end, the improviser does what must be done. As Keith Jarrett said, a long time ago, “If you’re a rock climber, once you’re halfway up the face of the cliff, you have to keep moving, you have to keep going somewhere. And that’s what I do, I find a way.”
These days, however, Jarrett is rationing the number of ascents: there have been less than thirty solo concerts in the last decade, making “Testament” a special event indeed. Two further solo performances are scheduled for 2009 – at the Palais des Beaux Arts in Brussels on October 9, and at Berlin’s Philharmonie on October 12.