Please consider donating to my fund to transcribe Keith Jarrett's "Osaka, Pt. 1" from The Sun Bear Concerts. I will be making PDFs of each section available as I finish them. More information can be found here: gofund.me/cf065ef8
I saw an interview with him where he talked about the insane amount of time he put into his left hand independence. He said he was disappointed with the results as he was hoping for much more. It was almost like he thought it wasn't worth it. I think he wanted both hands to sing equally.
I totally agree with how impressive the independence of his two hands is, and I couldn't play either hand by itself, but I honestly didn't enjoy listening to this piece! It sounds too random.
@@davevaebutuoy I don’t mind the right hand, but I prefer breaths of horn players in a pianists’ playing and agree with the random aspect of it, especially in the left hand. This is like a perfected version of playing too long and never resting? but with hip elements and played by a master? although he definitely states musical themes and follows them fairly thoroughly to another, as well as the head not being random at all but complimenting his left hand’s rhythms a little more
Anyone enjoying this MUST go and watch Rick Beato's fantastic interview done recently with him at his home. Keith, now incapacitated by a stroke, watches this performance (which he said he had forgotten about) with Rick and reacts to it the same way as a fan on here. Incredible!!!
Oh, I found it. It's not my actual video, but the original video from the performance. That's awesome though! He's totally into it, and surprised by a lot of it!
@@michaellucke2654 Sorry, I didn't mean to imply it was your video - I don't think Keith would need a transcription 🙂 but the rest of us might... Thank you so much for your tremendous work on here!!
That exact moment in Beato’s video made Jarrett click for me. He’s not watching himself but listening, as Beato added the video in production. But the effect is mesmerizing. What an immense talent.
One of my all time favorite Jarrett performances. A total command of bebop vocabulary miraculously combined with the energy and rhythmic drive of a rock pianist. Absolutely mind blowing.
It's hard to know where to start with the superlatives for Keith, but ultimately I think he's the heaviest jazz pianist in every way. What I've been aware of but can see more clearly now is his sense of structure, particularly with his solo performances of standards. There's such a compositional approach, and you can see it here when he starts a new chorus and brings it back to the melody for a bit and then builds further. He also of course gets variety by orchestrating things in many different ways. Both these things plus his melodic development show how he turns a 12 bar structure into 12 minutes of improvised music that stays compelling throughout. Thanks again for a fantastic job transcribing this.
Keith was one of the very first jazz musicians I ever listened to. He really opened my mind to what's possible in music. I remember watching his Standards I and II videos over and over. The thing I love most about his playing is how fearless he is. He never shies away from exploration and by the time he's finished a tune, he's expressed everything that he wanted to.
I just happened on this by accident. Keith is a genius- but so are you, my friend. I cannot even begin to imagine the effort, time and discipline it took you to transcirbe this. Truly mind-boggling. Human beings do such cool things. Your effort here, Mr. Lucke, makes me happy to be a fellow human... and I don't even play piano!
Completely extraordinary! For me he's the real successor to John Coltrane - not just harmonically but rhythmically hes so free but always seems to know when to release the tension... The way he build it is so masterly - each chorus builds on the last.Someone criticized below that the solo is incoherent -- its the absolute opposite of that.
To play for that long and have that many ideas just makes my heart beat faster. I felt like was going to have a panic attack, but this is like swimming for Keith. Lordy.
Haha, I know. It's really so hard to choose, and really not necessary anyway. There are so many greats! But, I think Keith has this undeniable, raw talent that's so rare.
Michael thanks for all of your hard work on this beautiful transcription. P.S. I am heading out to your page and purchasing the KJ transaction, right now today. 🎹😊
Does anyone else get the feeling that Keith was making a pun on "How High The Moon" here? Not only the similar opening progression, but the connection between "Lunar" and "Solar." Not to mention that HHTM is a jazz standard for showing off high speed chops at breakneck tempos. And Keith certainly does that here!
I discovered Swedish pianist Lars Jansson recently. His version of ‘What’s New’ on the eponymous album (released by Spice of Life, 2010) is well worth a listen for fans of KJ’s trio work with (Jack DeJohnette & Gary Peacock).
Hello. This is a brilliant transcription. Would it possible for you to transcribe some passages of The Sapporo Concert part 1?? In my view, that is Maestro Jarrett's greatest performance. Greetings.
@@michaellucke2654yes. I like Keith’s music and he’s obviously brilliant but I find that he takes himself a bit too seriously. I cough as an objection to his poor attitude and general rudeness.
@@displaychicken I've come to the conclusion that Keith Jarrett was probably a little bit autistic or at least OCD and the coughing just set him off. But, yes I've been to many of his concerts and I wish he would just play and not offer up his various opinions on things...
Thank you for another fav of mine! Great work! I really love the solo piano transcriptions so much. Have you considered transcribing "Stella By Starlight" from La Fenice? Thats another good one.
Yeah, this one is so great. I've loved it for over 20 years! And YES I have transcribed Stella from La Fenice! It's insane. Unfortunately I can't put the audio up on RUclips because of copyrights but you can watch the video with audio here: www.michaelluckemusic.com/transcriptions/p/keith-jarrett-stella
@@michaellucke2654 Wow, I had no idea you already transcribed that version of Stella! You are a legend! I love how you transcribe alot of my top 3's - Keith, Brad and Fred.
@@giovannimontagnana6262 Haha, no it's all "manual" I guess. Well, I mean I do use software to slow the audio down, or shift the pitch if I need to. But the notes and rhythms are all me.
Such a shame what happened to Keith with his stroke. But God gives and He also takes away. The same thing happened to Oscar Peterson. So if you can play with both hands be thankful.
Keep your religion out of it, please. This is just what a genius dedicated human artist can achieve. It's precisely a testament of what human kind can aspire to without the need for any god.
This is one of the hardest tunes to play .To play a solo that has melodic logic and integrity is ( to my ears ) nearly impossible here , because these II - V - I transitions are so obvious and kind of brutal in their melancholy . Actually , for my taste , nearly every pro failse this test . Even Miles played boring stuff here, to my ears . I like the energy that Jarett pushes on to it , and his left hand independence . But i do not hear a lot of melodic interesting lines here . Everything he plays does not leave a trace with me .Just common bebop lines . But do not worry I do not even like the Pat Metheny or Bill Evans solos on this tune . I do not claim to have a special taste . It is just seems to me that nearly nobody is able to crack open the magic of the tune and make it happen .The only solos i like are the ones of John Scofield and John Abercrombie in their duo version . I think they had a moment there , where they got a logic , sensitive and melocic solo structure that fits the architecture of the tune perfectly . But - who cares - this is just my taste .
Probably you're trying to hard to justify your taste with some mumbo-jumbo phrases. I may not be the only one that can't quite grasp what you intended to say... On the other hand, your preference for the Scofield and Abercrombie version tells me you like a more trivial and simple form of jazz. No problem. It's just a taste, as you put it.
@@bruno_dias "... tells me you like a more trivial and simple form of jazz" actually shows me , that you did not even listen to their version . Maybe you do not know , that for example Abercrombie played with Jack de Johnette just like Jarrett did and had no intentions of playing easy listening jazz . You just tried to show of with an advanced taste . isn't that a bit embarrasing ? no need to jump to Jarretts defence . Did you ever try to play over that tune ? it is only II V I after II V I . It's pretty hard to get some melodic logic into the improvisation . That is all i was trying to say . Never mind , it is just taste as we both agree . But listen to the Scofield / Abercrombie version and you will find out , that it is far from easy listening jazz .
Very inspiring performance. Beautiful lines. He does speed up quite a bit. He is hard to categorize. I still prefer Bill Evans and Lennie Tristano. Those cats went deeper.
Thanks for this great transcription. This is great jazz piano playing no doubt. However...this can also be seen as demonstrative of 'classic' high level jazz playing. His LH is doing the kinds of things that the LH should do in a solo piano version of a hard bop tune. Is it different that what Bill Evans would do...sure. But is it radically or insanely different...no. Is it even radically different than what any number of high level players might do?...also a resounding no. Is it different from what your typical aspiring amateur with a real book would do...absolutely! This is why transcribing is soooooo important. Transcribing is supper-deep listening. Until we actually transcribe or learn a written transcription (less effective and less rewarding IMHO), we don't REALLY hear what is going on. That's why most aspiring jazz pianists who listen to the right stuff, but learn to play primarily from fakebooks, don't sound very good. It's the same as learning to blow. Until you do a lot of transcribing, you don't really "hear" with that essential level of detail, what really is going on.
ruclips.net/video/5cIcIbHb0Bc/видео.html Just so people don't think I am FOS. This is Bill Evans and Scott Lafaro in 1961 '62. SOLAR was a new tune, 20 or 30 years BEFORE Jarret's recording. To me, more interesting melodically, rhythmically and even harmonically. An Keith has the advantage of hearing and playing the tune for 30 years. One could say the difference between genius and greatness
No Evans is quite restricted rhythmically.Keith was a drummer and you can hear that.His rhythmic sense is as great as Coltrane. ....and another thing Jarrett can REALLY play the Blues, something that Bill Evans could NEVER do which is why Miles chose Wynton Kelly to play the blues tunes on A Kind Of Blue.Name just one convincing blues performance by Bill Evans! and all those long bloody triplets get so damn tedious. Its actually a greater achievement what Jarrett did - He managed to come after Evans and still sounded completely original even after such a strong original voice as Bill.....Besides Keith has a mastery of Stride and Tatum style -- real two handed piano. And his Shostakovich is in a different league to Evans attempts at classical piano.
@@fennelleastman8816 Obviously you are a fan but as a polemiscist you are all over the place so I will respond to your critique the best way I can. Everything on KIND OF BLUE is a blues or derived from one. According to Jimmy Cobb, who was the drummer, Bill Evans was largely responsible for the overall sound and direction of the session. By the way, initially Miles wanted to call the album "All Blues." SOLAR is also a blues. But just to summarize: Evans was one of the most important innovators of jazz. As far as rhythm is concerned, he (and Lafaro and Paul Motian) created trio where often no one was playing time. Evans also has his own rhythmic style. It may sound a little stiff to some, but it definitely swung. Evans also contributed some important tunes like WALTZ FOR DEBBY, TURN OUT THE STARS AND TIME.REMEMBERED to the jazz rep. Keith plays mostly standards. I cannot think of any tune he wrote. Keith may be a better classical pianist but that is irrelevant. Pianistically, SOUND, TOUCH,.PEDALING, Evans os on another level. You can check out my Cd streamed on any sight called BUDDHA OF THE RAINFOREST for backup
"To me, more interesting melodically, rhythmically and even harmonically". Yes, to you maybe... The Evans part on that album is miles behind "melodically, rhythmically and even harmonically" to Jarrett's version. And the 20 years difference can only excuse the much more restricted approach that a trio could make when compared with this. I'll give you that Bill Evans was of great importance for the standard (in the sense of norm) American jazz expression but Jarrett goes way beyond that, mixing much more styles and influences than just standard American jazz. And the plethora of great modern European and Asian (and even some Americans) jazz musicians of today are much more influenced by Coltrane and Jarrett than by Evans.
![I.N "HALLUCINATION" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/n5B5q1Hwt_U/mqdefault.jpg)
Please consider donating to my fund to transcribe Keith Jarrett's "Osaka, Pt. 1" from The Sun Bear Concerts. I will be making PDFs of each section available as I finish them. More information can be found here: gofund.me/cf065ef8
The rhythmic independence of his left hand is insane.
yeah! It feels like there's a drummer and a bassist playing in the background!
He is probably the most genius musician in the world for a reason
I saw an interview with him where he talked about the insane amount of time he put into his left hand independence. He said he was disappointed with the results as he was hoping for much more. It was almost like he thought it wasn't worth it. I think he wanted both hands to sing equally.
I totally agree with how impressive the independence of his two hands is, and I couldn't play either hand by itself, but I honestly didn't enjoy listening to this piece! It sounds too random.
@@davevaebutuoy I don’t mind the right hand, but I prefer breaths of horn players in a pianists’ playing and agree with the random aspect of it, especially in the left hand. This is like a perfected version of playing too long and never resting? but with hip elements and played by a master?
although he definitely states musical themes and follows them fairly thoroughly to another, as well as the head not being random at all but complimenting his left hand’s rhythms a little more
Anyone enjoying this MUST go and watch Rick Beato's fantastic interview done recently with him at his home. Keith, now incapacitated by a stroke, watches this performance (which he said he had forgotten about) with Rick and reacts to it the same way as a fan on here. Incredible!!!
wait wait wait, Keith watches THIS video?? At what time in the interview? I haven't watched the whole thing yet
Oh, I found it. It's not my actual video, but the original video from the performance. That's awesome though! He's totally into it, and surprised by a lot of it!
@@michaellucke2654 Sorry, I didn't mean to imply it was your video - I don't think Keith would need a transcription 🙂 but the rest of us might... Thank you so much for your tremendous work on here!!
@@twangbarfly Haha, no I just misread! Thanks for pointing this out. It was very special to watch
That exact moment in Beato’s video made Jarrett click for me. He’s not watching himself but listening, as Beato added the video in production. But the effect is mesmerizing. What an immense talent.
One of my all time favorite Jarrett performances. A total command of bebop vocabulary miraculously combined with the energy and rhythmic drive of a rock pianist. Absolutely mind blowing.
So percetfly said
I really think this is one of the greatest piano performances of all time regardless of genre and to say the least the transcription is worthy of it.
It's hard to know where to start with the superlatives for Keith, but ultimately I think he's the heaviest jazz pianist in every way. What I've been aware of but can see more clearly now is his sense of structure, particularly with his solo performances of standards. There's such a compositional approach, and you can see it here when he starts a new chorus and brings it back to the melody for a bit and then builds further. He also of course gets variety by orchestrating things in many different ways. Both these things plus his melodic development show how he turns a 12 bar structure into 12 minutes of improvised music that stays compelling throughout. Thanks again for a fantastic job transcribing this.
Keith was one of the very first jazz musicians I ever listened to. He really opened my mind to what's possible in music. I remember watching his Standards I and II videos over and over.
The thing I love most about his playing is how fearless he is. He never shies away from exploration and by the time he's finished a tune, he's expressed everything that he wanted to.
I just happened on this by accident. Keith is a genius- but so are you, my friend. I cannot even begin to imagine the effort, time and discipline it took you to transcirbe this. Truly mind-boggling. Human beings do such cool things. Your effort here, Mr. Lucke, makes me happy to be a fellow human... and I don't even play piano!
Completely extraordinary! For me he's the real successor to John Coltrane - not just harmonically but rhythmically hes so free but always seems to know when to release the tension... The way he build it is so masterly - each chorus builds on the last.Someone criticized below that the solo is incoherent -- its the absolute opposite of that.
The most unbelievable thing here is Jarrett's concentration! Staggering performance
Awesome how this is one of the two things Rick Beato played for Keith in his interview.
Speechless.
So relentless! What a monster!
hell yeah!
Thank you for this transcription. Fantastic!
Bravissimo, Michael! Thank U!
That medium voice is just stunning.
Endlessly inventive!
To play for that long and have that many ideas just makes my heart beat faster. I felt like was going to have a panic attack, but this is like swimming for Keith. Lordy.
Just love the way Keith plays so much
Beyond words....
Sometimes i think he is the greatest. Thank You!
Only sometimes???
@@michaellucke2654 It's not that easy to choose one, but yes, he is the greatest. His artistry reminds me Bach. True genius of our era
Haha, I know. It's really so hard to choose, and really not necessary anyway. There are so many greats! But, I think Keith has this undeniable, raw talent that's so rare.
Bach, Jarrett, Evans, Monk, Hornsby. For different reasons. Jarrett is possessed. ;)
@@ryan_lu-y8w absolutely!
Yes!!!
Genius in full flight
Thank you Michael
What an incredible document- thanks so much for taking all of this down!
Keith Jarrett, which means it should be titled " Now this is how you wish you could play a tune".
Hallelujah!!!! there is a God!!!!
Wonderful performance!
3:20 great
Michael thanks for all of your hard work on this beautiful transcription.
P.S. I am heading out to your page and purchasing the KJ transaction, right now today. 🎹😊
Does anyone else get the feeling that Keith was making a pun on "How High The Moon" here? Not only the similar opening progression, but the connection between "Lunar" and "Solar." Not to mention that HHTM is a jazz standard for showing off high speed chops at breakneck tempos. And Keith certainly does that here!
You know Solar isn’t one of Keith’s tunes, right?
After this performance it sure was. He owned but good! @@stephensmith2707
On est frappé par l'intense effort physique des pianistes de jazz actuels. Pour un résultat souvent décevant, hélas !
What a gift to the world he is…we’re not worthy!
come on we are worthy of hearing why not?
Another one of the many "best jazz pianist of our generation"...
Great example of an artist becoming one with his instrument.
Whoa!!!!!
Oh my..
I discovered Swedish pianist Lars Jansson recently. His version of ‘What’s New’ on the eponymous album (released by Spice of Life, 2010) is well worth a listen for fans of KJ’s trio work with (Jack DeJohnette & Gary Peacock).
Brad Mehldau is a Patron!? That’s cool!
I hear freedom.....
I see freedom too
amen
Hello. This is a brilliant transcription.
Would it possible for you to transcribe some passages of The Sapporo Concert part 1?? In my view, that is Maestro Jarrett's greatest performance. Greetings.
I'm actually working on the first 22 minutes of that one! I have about 8 left to go, and yes, it's amazing!
@@michaellucke2654
Hello!! 24:55 to 29:55 is when KJ achieved greatness. Could you please transcribe that part!! Playing it would be my dream. Thanks.
This is the Apex of American music
"American"!? Don't be one of those ignorant Americans, please.
Meu Deus, meu Deus, ... MEU DEUS!
génial
By watching the video without sound, I know it’s him. By listening to the playing without picture, I know it’s him.
I couldn’t stop coughing while I watched this
Is this referring to how much Keith hates it when the audience coughs?
@@michaellucke2654yes. I like Keith’s music and he’s obviously brilliant but I find that he takes himself a bit too seriously. I cough as an objection to his poor attitude and general rudeness.
🤣
@@displaychicken I've come to the conclusion that Keith Jarrett was probably a little bit autistic or at least OCD and the coughing just set him off. But, yes I've been to many of his concerts and I wish he would just play and not offer up his various opinions on things...
If I was a piano player I'd want to play like him
1 out of a billion shot
If I were!! :)
Louco foi quem transcreveu isso
lol, that would be me!
Parabéns 👏👏👏
Dave Frank called KJ the ‘greatest improviser in the recorded era’.
He's not only making love with the notes...
Thank you for another fav of mine! Great work! I really love the solo piano transcriptions so much. Have you considered transcribing "Stella By Starlight" from La Fenice? Thats another good one.
Yeah, this one is so great. I've loved it for over 20 years! And YES I have transcribed Stella from La Fenice! It's insane. Unfortunately I can't put the audio up on RUclips because of copyrights but you can watch the video with audio here: www.michaelluckemusic.com/transcriptions/p/keith-jarrett-stella
@@michaellucke2654 Wow, I had no idea you already transcribed that version of Stella! You are a legend! I love how you transcribe alot of my top 3's - Keith, Brad and Fred.
@@michaellucke2654 man do you use some software i guess to transcribe, am I correct? Cannot imagine doing this manually. That would be a hell of a job
@@giovannimontagnana6262 Haha, no it's all "manual" I guess. Well, I mean I do use software to slow the audio down, or shift the pitch if I need to. But the notes and rhythms are all me.
@@michaellucke2654 incredible work man.
🤯
its like having subtitles
Pazzesco!
I wonder he was thinking about when he was doing this,or if he was even thinking at all.
*stands in jazz*
Jesse we need to swing
I’ve heard this tune a million times but can’t figure out the name…
Solar
@@ahan95gmailcom yes!! Pat Metheny’s version was playing in my head. Thanks!
What concert is this from?
It's from Solo Tribute, his 100th solo performance in Japan
Such a shame what happened to Keith with his stroke. But God gives and He also takes away. The same thing happened to Oscar Peterson. So if you can play with both hands be thankful.
Indeed. Though one of their hands would easily surpass me with two. What amazing talents...
Keep your religion out of it, please. This is just what a genius dedicated human artist can achieve. It's precisely a testament of what human kind can aspire to without the need for any god.
Rather he has two brains or he’s just trained himself to have two separate brain parts working by themself
God Play Solar
🫢
This is one of the hardest tunes to play .To play a solo that has melodic logic and integrity is ( to my ears ) nearly impossible here , because these II - V - I transitions are so obvious and kind of brutal in their melancholy . Actually , for my taste , nearly every pro failse this test . Even Miles played boring stuff here, to my ears . I like the energy that Jarett pushes on to it , and his left hand independence . But i do not hear a lot of melodic interesting lines here . Everything he plays does not leave a trace with me .Just common bebop lines . But do not worry I do not even like the Pat Metheny or Bill Evans solos on this tune . I do not claim to have a special taste . It is just seems to me that nearly nobody is able to crack open the magic of the tune and make it happen .The only solos i like are the ones of John Scofield and John Abercrombie in their duo version . I think they had a moment there , where they got a logic , sensitive and melocic solo structure that fits the architecture of the tune perfectly . But - who cares - this is just my taste .
Probably you're trying to hard to justify your taste with some mumbo-jumbo phrases. I may not be the only one that can't quite grasp what you intended to say... On the other hand, your preference for the Scofield and Abercrombie version tells me you like a more trivial and simple form of jazz. No problem. It's just a taste, as you put it.
@@bruno_dias "... tells me you like a more trivial and simple form of jazz" actually shows me , that you did not even listen to their version . Maybe you do not know , that for example Abercrombie played with Jack de Johnette just like Jarrett did and had no intentions of playing easy listening jazz . You just tried to show of with an advanced taste . isn't that a bit embarrasing ? no need to jump to Jarretts defence . Did you ever try to play over that tune ? it is only II V I after II V I . It's pretty hard to get some melodic logic into the improvisation . That is all i was trying to say . Never mind , it is just taste as we both agree . But listen to the Scofield / Abercrombie version and you will find out , that it is far from easy listening jazz .
:)
Very inspiring performance. Beautiful lines. He does speed up quite a bit. He is hard to categorize. I still prefer Bill Evans and Lennie Tristano. Those cats went deeper.
Deeper where ?
If something they did never went deeper than Jarrett. What a nonsense!
They were innovators, Jared is just a accomplished jazz player. Anyway, it's all sunjective
@@jonathanweiss7716 Your lack of knowledge is impressive.
I'm not crazy I swear, but I think I hear Bugs Bunny singing in the background.
Thanks for this great transcription. This is great jazz piano playing no doubt. However...this can also be seen as demonstrative of 'classic' high level jazz playing. His LH is doing the kinds of things that the LH should do in a solo piano version of a hard bop tune. Is it different that what Bill Evans would do...sure. But is it radically or insanely different...no. Is it even radically different than what any number of high level players might do?...also a resounding no. Is it different from what your typical aspiring amateur with a real book would do...absolutely! This is why transcribing is soooooo important. Transcribing is supper-deep listening. Until we actually transcribe or learn a written transcription (less effective and less rewarding IMHO), we don't REALLY hear what is going on. That's why most aspiring jazz pianists who listen to the right stuff, but learn to play primarily from fakebooks, don't sound very good. It's the same as learning to blow. Until you do a lot of transcribing, you don't really "hear" with that essential level of detail, what really is going on.
cringe
ruclips.net/video/5cIcIbHb0Bc/видео.html Just so people don't think I am FOS. This is Bill Evans and Scott Lafaro in 1961 '62. SOLAR was a new tune, 20 or 30 years BEFORE Jarret's recording. To me, more interesting melodically, rhythmically and even harmonically. An Keith has the advantage of hearing and playing the tune for 30 years. One could say the difference between genius and greatness
Man stfu and listen. They are both geniuses, if you really delved into Keith's discography you'd know he's as deep as it gets
No Evans is quite restricted rhythmically.Keith was a drummer and you can hear that.His rhythmic sense is as great as Coltrane. ....and another thing Jarrett can REALLY play the Blues, something that Bill Evans could NEVER do which is why Miles chose Wynton Kelly to play the blues tunes on A Kind Of Blue.Name just one convincing blues performance by Bill Evans! and all those long bloody triplets get so damn tedious.
Its actually a greater achievement what Jarrett did - He managed to come after Evans and still sounded completely original even after such a strong original voice as Bill.....Besides Keith has a mastery of Stride and Tatum style -- real two handed piano. And his Shostakovich is in a different league to Evans attempts at classical piano.
@@fennelleastman8816 Obviously you are a fan but as a polemiscist you are all over the place so I will respond to your critique the best way I can. Everything on KIND OF BLUE is a blues or derived from one. According to Jimmy Cobb, who was the drummer, Bill Evans was largely responsible for the overall sound and direction of the session. By the way, initially Miles wanted to call the album "All Blues." SOLAR is also a blues. But just to summarize: Evans was one of the most important innovators of jazz. As far as rhythm is concerned, he (and Lafaro and Paul Motian) created trio where often no one was playing time. Evans also has his own rhythmic style. It may sound a little stiff to some, but it definitely swung. Evans also contributed some important tunes like WALTZ FOR DEBBY, TURN OUT THE STARS AND TIME.REMEMBERED to the jazz rep. Keith plays mostly standards. I cannot think of any tune he wrote. Keith may be a better classical pianist but that is irrelevant. Pianistically, SOUND, TOUCH,.PEDALING, Evans os on another level. You can check out my Cd streamed on any sight called BUDDHA OF THE RAINFOREST for backup
@@jonathanweiss7716 mostly standards? Have you heard his straight up improve like the Koln concert? I guess that doesn't count then
"To me, more interesting melodically, rhythmically and even harmonically". Yes, to you maybe... The Evans part on that album is miles behind "melodically, rhythmically and even harmonically" to Jarrett's version. And the 20 years difference can only excuse the much more restricted approach that a trio could make when compared with this. I'll give you that Bill Evans was of great importance for the standard (in the sense of norm) American jazz expression but Jarrett goes way beyond that, mixing much more styles and influences than just standard American jazz. And the plethora of great modern European and Asian (and even some Americans) jazz musicians of today are much more influenced by Coltrane and Jarrett than by Evans.
aimless clutter
Well that's just your opinion, and many people would disagree, but what do I know against the great David Patrick?
Well, just piss off and go listening to Justin Bieber or Beyoncé.
That's not a tune, that's noodling.
boring
Yes, your mother said the same when you were born.
🤪🔫