Beautiful. Everything about this piece, just beautiful. Thank You for sharing this, absolutely sublime stuff.Keith, Jack and Gary, Good Health and stay BLESSED.
He always had an amazing melodic sense (and a touch that's something to marvel at), kinda out of this world. Add to that some unbelievable Steinway grands, and you got a jackpot.
standards can be played different ways,differents tempos,(even if actually,ballad is mentionned on the sheet,"tenderly" goes that way for exemple)for this one,jarrett plays it med/swing tempo like,it's another version,that's it.but you know,bill evans did the same way with standards,and actually kind of re-arrangement often used throughout all jazz,he not only changed the tempos,but also the metric,like 4/4 goes 3/4 etc.. in definitive,jarrett and evans are two great musicians,that's it.
If you like this tune, played by a master trio, you must also listen to Tony Bennett and Bill Evans sing and play it. You-Tube video: "Tony Bennett Bill Evans Album".. "Young and Foolish". It's just the two of them. Played in original ballad form, you hear Tony sing the profound and heartfelt lyrics set against Bill's gorgeous harmony. I always recommend hearing jazz standards sung at some point, because you get the full dimension of the sentiment and intent of the tune. Most jazz standards were written decades ago by professional songwriters and lyricists who really knew how to express love, resentment, loneliness, heartbreak, joy, sorrow, lust and happiness. Hearing the lyrics can give you a basis on which you can improvise or present the tune in many ways as an instrumental performance. Even if the tune is not sung by a vocalist in performance, the lyrics, carefully read aloud to the audience by the instrumentalist before playing the tune can bring far greater impact when playing it as a solo instrumental.
Jennifer, you are right. I have the Evans/ Bennett records and still listen them often. Bill was Tony's favorite pianist and the positive energy between them is obvious. The standards are such great songs written in a different time. Thank God we have them.
@@normhall1622 Those Tony Bennett-Bill Evans recordings were made when both Bill and Tony were at low points in their careers, if not at the very bottom. Perhaps that gave them more feeling to express the empathy and pain of some of the standards they performed. One thing I've come to recognize as a jazz pianist over the years is the importance of the tune itself. Tune selection is as important as the performance. Not so much how one improvises or reharmonizes a tune, but more about the original tune construction, its melody, chord changes and lyrics. Often it is is a combination of a great melody, great chord changes and great lyrics that makes a tune a really deeply meaningful and emotional piece of music. The tunes on the Tony Bennett-Bill Evans 1975 and 1977 recordings are not only great standards, but they are, in a musical sense, mostly constructions of melody, lyrics and chord changes which deeply touch the human spirit. Written by great song writers with names like Jackie, Johnny, Sammy, and the like, they started as pop ballads, or as tunes in movies from the romantic period of American pop music. Once Jazz musicians got a hold of them, they were interpreted into a much deeper expression. Tony Bennett and Bill Evans present this deeper expression beautifully in their recordings. Such great tunes as "Young and Foolish", "The Touch of Your Lips", "Some Other Time", "When In Rome", "We'll Be Together Again", "My Foolish Heart" "Waltz for Debby", "But Beautiful" "The Days of Wine and Roses" "Make Someone Happy", "A Child is Born" "You Don't Know What Love Is" , "Maybe September", "You Must Believe in Spring"......just listing these tunes brings tears to my eyes. I've played them so many times, and every time I approach one of these great songs my relationship with it brings out the deepest expression in my playing. It is the combination of the melody, the chord changes and the lyrics....all together make for an overwhelming heartfelt and meaningful offering of musical expression. Bill Evans died in 1980, yet his music lives on, and it continues to inspire countless jazz pianists generation after generation. Tony Bennett is now in the late twilight of his years, as a very aged singer,. H is daughter Antonia, has expressed her dismay over Tony's cognitive decline, but his contribution to the world of music will remain as a great one. The Tony Bennett-Bill Evans recordings demonstrate that even without a band, or orchestral arrangements, if two great artists can come together and make music, performing great tunes, there is no need for a large orchestra. The singer, the pianist and the tune are all the listener needs.
Wonderful. I dig the swing tempo, but I bet that he would've played it just as well as a ballad. Really just depends upon how he feels like doing it. Awesome.
A bit too much compression in the conversion, no? :) As for the tune I prefer it as mid swing. You don't know what love is from the same concert is also played as free -> swing but I liked it that way more too.
@scottbos68 It's amazing how many people think that music is absolute. You can't do this. You can't do that. Sting relates that tunes are like children, you do the best for them, send them out into the world, after that it's pretty much out of your hands. Jazz is more than just syncopation or reharmonization. It's a musical dissertation on a subject. it's not like if you played a ballad uptempo or swing, no one would recognize it. Glenn Gould did the same with Bach and is iconic.
+Dawn Saunderson The song was originally played in a stage musical called Plain & Fancy. Introduced by David Daniels and Gloria Marlowe. The lyrics were by Arnold B Horowitt; music by Albert Hague (1955.)
hey scottbos68, with all respect 2 u - but u r talkin nonsense bro ! - listen his solo from 3:14 .. something "unclear ".. ? - i hope not ..//of kors i know evans version - but dis one has absolutely great solo - thnx 4 posting bro bakofink - i didnt know dis one !!!!
Do think that if he actually did some scatting he'd hammer with his fists on the piano sympathetically? Yes, I'm being facetious :) But seriously, did he whine and groan when he played the classical concerts? Hmmm...
![Keith Jarrett Trio - Night & Day [Live 2010]](http://i.ytimg.com/vi/LvAH7woPYIY/mqdefault.jpg)
love that little line at 6:48. SO KEITH!
Beautiful. Everything about this piece, just beautiful. Thank You for sharing this, absolutely sublime stuff.Keith, Jack and Gary, Good Health and stay BLESSED.
Harika parça,uçuruyor insanı.
I love the sound Jarret gets when he plays single note melodies, seems to ping.
He always had an amazing melodic sense (and a touch that's something to marvel at), kinda out of this world. Add to that some unbelievable Steinway grands, and you got a jackpot.
standards can be played different ways,differents tempos,(even if actually,ballad is mentionned on the sheet,"tenderly" goes that way for exemple)for this one,jarrett plays it med/swing tempo like,it's another version,that's it.but you know,bill evans did the same way with standards,and actually kind of re-arrangement often used throughout all jazz,he not only changed the tempos,but also the metric,like 4/4 goes 3/4 etc..
in definitive,jarrett and evans are two great musicians,that's it.
los tres impecables músicos!!! me encanta esta canción!!!
So beautiful !!!❤️❤️❤️
Fantastico
Hai ragione,direi eccezionali,unici.....
Beautiful song written in the mid-50's. Preference would've been ballad, but Keith Jarrett's still great a la Bill Evans.
Thanks for this post.
Baş çok güçlü geliyor,çok iyi,hepsi çok iyi zaten.
If you like this tune, played by a master trio, you must also listen to Tony Bennett and Bill Evans sing and play it. You-Tube video: "Tony Bennett Bill Evans Album".. "Young and Foolish". It's just the two of them. Played in original ballad form, you hear Tony sing the profound and heartfelt lyrics set against Bill's gorgeous harmony. I always recommend hearing jazz standards sung at
some point, because you get the full dimension of the sentiment and intent of the tune. Most jazz standards were written decades ago by professional songwriters and lyricists who really knew how to express love, resentment, loneliness, heartbreak, joy, sorrow, lust and happiness. Hearing the lyrics can give you a basis on which you can improvise or present the tune in many ways as an instrumental performance.
Even if the tune is not sung by a vocalist in performance, the lyrics, carefully read aloud to the audience by the instrumentalist before playing the tune can bring far greater impact when playing it as a solo instrumental.
Jennifer, you are right. I have the Evans/ Bennett records and still listen them often. Bill was Tony's favorite pianist and the positive energy between them is obvious. The standards are such great songs written in a different time. Thank God we have them.
@@normhall1622 Those Tony Bennett-Bill Evans recordings were made when both Bill and Tony were at low points in their careers, if not at the very bottom. Perhaps that gave them more feeling to express the empathy and pain of some of the standards they performed. One thing I've come to recognize as a jazz pianist over the years is the importance of the tune itself. Tune selection is as important as the performance. Not so much how one improvises or reharmonizes a tune, but more about the original tune construction, its
melody, chord changes and lyrics. Often it is is a combination of a great melody, great chord changes and great lyrics that makes a tune a really deeply meaningful and emotional piece of music. The tunes on the Tony Bennett-Bill Evans 1975 and 1977 recordings are not only great standards, but they are, in a musical sense, mostly constructions of melody, lyrics and chord changes which deeply touch the human spirit.
Written by great song writers with names like Jackie, Johnny, Sammy, and the like, they started as pop ballads, or as tunes in movies from the romantic period of American pop music. Once Jazz musicians got a hold of them, they were interpreted into a much deeper expression. Tony Bennett and Bill Evans present this deeper expression beautifully in their recordings.
Such great tunes as "Young and Foolish", "The Touch of Your Lips", "Some Other Time", "When In Rome", "We'll Be Together Again", "My Foolish Heart" "Waltz for Debby", "But Beautiful" "The Days of Wine and Roses" "Make Someone Happy", "A Child is Born" "You Don't Know What Love Is" , "Maybe September", "You Must Believe in Spring"......just listing these tunes brings tears to my eyes.
I've played them so many times, and every time I approach one of these great songs my relationship with it brings out the deepest expression in my playing. It is the combination of the melody, the chord changes and the lyrics....all together make for an overwhelming heartfelt and meaningful offering of musical expression.
Bill Evans died in 1980, yet his music lives on, and it continues to inspire countless jazz pianists generation after generation. Tony Bennett is now in the late twilight of his years, as a very aged singer,. H is daughter Antonia, has expressed her dismay over Tony's cognitive decline, but his contribution to the world of music will remain as a great one.
The Tony Bennett-Bill Evans recordings demonstrate that even without a band, or orchestral arrangements, if two great artists can come together and make music, performing great tunes, there is no need for a large orchestra. The singer, the pianist and the tune are all the listener needs.
Gary Peacock on bass is amazing!
He's got a rhythmic drive that's out of this world, even on these mid-slow bouncy pieces. Amazing. :D
Great!
Wonderful. I dig the swing tempo, but I bet that he would've played it just as well as a ballad. Really just depends upon how he feels like doing it.
Awesome.
@barkofink that rite... i saw a band... play TAKE FIVE on 4/4... is stuning...
Vocês acham que é preciso dizer alguma além de: divino?
I can sense a different type of harmony and its between players
nobody mentions here Peacock's fabulous solo
A bit too much compression in the conversion, no? :)
As for the tune I prefer it as mid swing. You don't know what love is from the same concert is also played as free -> swing but I liked it that way more too.
@scottbos68 It's amazing how many people think that music is absolute. You can't do this. You can't do that. Sting relates that tunes are like children, you do the best for them, send them out into the world, after that it's pretty much out of your hands. Jazz is more than just syncopation or reharmonization. It's a musical dissertation on a subject. it's not like if you played a ballad uptempo or swing, no one would recognize it. Glenn Gould did the same with Bach and is iconic.
KJ...un pasaje para volar sin drogas
Does anybody now what film this came from?
+Dawn Saunderson The song was originally played in a stage musical called Plain & Fancy. Introduced by David Daniels and Gloria Marlowe. The lyrics were by Arnold B Horowitt; music by Albert Hague (1955.)
Keith is so versatile, he can add in so many different moods to his playing, just within a single song.
@nezkeys79 u're right...maybe i was drunk at the moment i was writing....-.-
Like crystal.
hey scottbos68,
with all respect 2 u - but u r talkin nonsense bro ! - listen his solo from 3:14 .. something "unclear ".. ? - i hope not ..//of kors i know evans version - but dis one has absolutely great solo - thnx 4 posting bro bakofink - i didnt know dis one !!!!
Is that jazz writing underneath me ?
What on earth are you on about, you old bag?
It's a 3/4 swing, i suppose.
Has he ever done a days fucking work in his life
?
Do think that if he actually did some scatting he'd hammer with his fists on the piano sympathetically?
Yes, I'm being facetious :)
But seriously, did he whine and groan when he played the classical concerts? Hmmm...
Supposed to be.
No itsbenagain......it's you.
Listen closely
Pinkie Eldred prostabium
this is a ballad not a swing tune bill evans got it alot more than keith did for this one but then who can play a ballad like evans?