Steven Spielberg once said in his filmed biography that as a young amateur teen filmmaker he went to see the 1960's movie "Lawrence of Arabia" and after seeing it he wanted to quit film making completely, for he realized he could never capture the magnificence and splendor of what film director David Lean accomplished. But Steven went back again and again to watch the movie and was inspired by it and learned from it. As Jazz pianist, who has regularly listened to Keith Jarrett for many years, I am moved exactly like Spielberg was. Hearing one of Keith's magnificent piano solo introductions to his jazz trio tunes, equally inspires me and depresses me to the limits of emotion. So moved am I in soaking up all the beauty and subtlety of his sensuous harmonies and nuanced tones, yet even after discovering the secrets of his magic, I feel incapable of even attempting to climb this musical mountain. I don't know what other people hear, but I do know what Jazz piano players hear, and what Keith does, especially in his piano solo introductions is both magical and mysterious. His playing makes lesser pianists want to either quit or dive into endless study and practice. And realistically, what Keith does makes pianists do both at times. Emotionally speaking, Keith is a virtuoso expressionist. His personally developed piano harmonies are a tour of deep emotional colors and feelings. The emotional harmonies that Bill Evans invented have been continued and reinvented by Keith Jarrett. These two great pianists are perhaps the only two Jazz pianists who have painted with such a varied and deep palate of subtle emotions. Bill's harmonies were greatly influenced by his feelings, and his feelings were greatly influenced by, if not created by his heroin use, as well as the pain of his withdrawal from it at times. As far as we know, Keith has not been greatly influenced by drugs or withdrawal from drugs, but there is a distinct difference between the signature emotions of both pianists. Bill expressed a sort of sadness, a distinct melancholy, a kind of "blue joy". Keith, expresses a deep touchingly beautiful sincerity. A romantic, loving sweetness, not by any means saccharine or corny, but instead a purity of heartfelt tenderness, in a harmonic inventiveness that allows the listener to discover new emotions he or she never knew existed. Music is emotion. Elementary music paints with primary colors. Major harmony is happy and positive. Minor harmony is sad and pessimistic. But far beyond simple happy or sad is the subtle and intricate emotions that arise from Keith Jarrett's piano harmony. Beautiful for sure, but much more than just beauty, he mixes psychological and emotional sensations in an alchemy of quickly changing chords, all within a single minute of his piano solo introductions. The mysterious and subtle emotions I go through and feel during the first minute of a Keith Jarrett solo piano introduction total far more than feelings I would encounter within a week of normal living. And, within that week I may have watched several different films or read several different authors all of whom would move me toward feeling something. I don't know what other people feel when listening to a Keith Jarrett piano solo introduction, but from their comments, I can only assume they are deeply moved. Whether or not they would be as deeply moved by music which is not nearly as evolved or sophisticated as Keith's, is unknown. For a Jazz pianist who is envious of Keith, it is all about being able to perform the same magic that one hears Keith perform. Not trying to be impressive, because Keith is not a purposely impressive player at all. He doesn't show off his technique or his abilities. In fact he has purposely simplified his playing in order to keep it purely artistic. Pianists regularly ornament their playing in an attempt to impress the listener, and usually it works. Listeners don't know the difference between show-off playing and real artistic technique. Keith's playing is so highly artistic, so purely and sincerely musical that his great artistry becomes impressive, and to most listeners it is hard to tell the difference between a virtuoso and an entertainer. Keith is a virtuoso pianist, but beyond that he is also a virtuoso composer, developer of harmonies, and real-time composer genius. Keith's entertainment value is delivered via his gyrating, mannerisms, singing, moaning, and acrobatics. None of it is intentional as entertainment. It is all part of his looseness and his soul expressing itself with no fear of judgement or embarrassment. For many, it becomes a comedy act, and an annoyance. But for those of us who simply tune out his singing and gyrating, it is not a problem, because the music and playing are so compelling, that any distractions are irrelevant. Ironically, Keith will admonish if not cuss out an audience for a simple cough or sneeze, because he says it interrupts the flow of the music and the expression of it. Yet he is perfectly content to gyrate all over the place and moan like the neighbor's cat in heat. But one thing that piano players know that audiences don't know, and that is the fact that playing piano, especially playing piano at the extremely high level of musicianship where Keith plays while gyrating around is not only extremely difficult, but nearly impossible. Closing your eyes, gyrating around, standing up, then down on the bench, then twisting...all of it is very very difficult to do while playing piano. Imagine writing on a piece of lined paper with a pen, trying to keep the ink between the lines and the penmanship perfect while standing and gyrating and closing your eyes. Nearly impossible. So Keith's "body expressions" make understanding his piano technique even more mysterious and magical because doing both at the same time is ridiculously difficult. Keith Jarrett is one of the world's greatest Jazz pianists, and one of the world's greatest pianists period. He creates more touching music from two octaves in the center of the keyboard than entire orchestra. Personal, touching, beautiful mysterious, yet always moving and always delightfully enriching. Pianists and listeners alike treasure his playing.
0:02 - 1:14 Every time I hear a Keith Jarrett Piano Intro played, I think each one should be collected and made into a C.D. of his amazing piano intros. The richest, most subtle and elegant harmonies and tones, expressed in the deepest most soulful way. Never showing off, never ostentatious, but instead, trying to expose the music, never covering it up with too many notes. This short, one minute and twelve second piano intro is a piano lesson which I will have to work on for at least half a year to imitate, not even coming close to mastering it.
0:02-1:14 This is a minute of pure piano bliss. Keith's solo piano introductions are the richest, most expressive, subtle elegantly delicious music he plays. Just he and only two octaves of the keyboard in quiet intimacy that melts my soul.
I think what thrills me most in Keith' music is that moment when you expect a melody or a tone and you won't get it; you get something else instead and after you concluded and implemented it in what you just heard before - what made me expect something - it makes even more sense to my ear than what i was expecting. the beauty about it is, that this moment, when i was false and keith was right brings so much joy.
To your comment about unexpected notes that Keith Jarrett plays, I agree with you completely. In his playing of the Rogers and Hart standard "With A Song In My Heart" he plays the intro solo piano in rubato mode and at 1:05 he plays an entirely unexpected high resolving chord with a forth on top....totally knocks me out ! Unexpected, yet so absolutely right and fitting emotionally in dramatically expressing this melody. I think Keith's unexpected notes are little messages actually intended for other Jazz pianists to hear. They say, "You thought you knew my playing, but here's a little reminder that I'm still way ahead of you." Personally, I would be happy to trail far behind, just picking up notes and harmonies that he has discarded. His left hand harmonic voicings are very difficult to figure out and copy, even though they may be only three or four notes. But the harmony created by those few notes can immediately create distinct and complex emotions in the listener. Sadness, joy, elegance, beauty, fragility, sensitivity, tenderness, mystery, and so many other emotions, all are felt by hearing only a few notes played by his left hand. It is a kind of musical alchemy. Harmonic magic. Piano slight-of-hand.
Only non-musicians are bothered by Keith's animated mannerisms and his vocalizing. Jazz pianists who study Keith, and who are inspired by Keith, are able to ignore these tiny distractions, because they are paying attention to the avalanche of Keith's rich musical output, his phenomenal keyboard technique, his magical harmony, his amazing improvised lines, and his unbelievable elegant polished tone. The irony of his performances has been the fact that he thinks nothing of moaning, groaning and caterwauling through his performances, much to the chagrin of his audiences' ears, yet if even one of them coughs or sneezes during his playing, he is upset, if not angered. I don't think Keith has ever been aware that this is a huge injustice in the artist-audience relationship.
A genius at work! Man, do I love how these amazing pianist know how to reharmonizes chords on classic songs! Another time Keith Jarrett went into "beast Mode"!! I love how he uses his whole body as another instrument!
Someone probably disliked the fun he's having while playing, i.e. the humming, dancing, grimaces, etc. You should be able to see beyond these superficialities to truly appreciate his genius. These were never a turn off for me, quite the contrary, they make him more interesting. You can see how much he loves what he's doing.
I would like to make a remark about Keith's perceived mannerisms, something he has in common with foremost the late Glenn Gould-but both were largely misunderstood because of those behaviors. Keith expresses himself in a most spontaneous manner, and his circulating or up-and-down head movements are functional in that they free up vital energy, in my opinion, as he relaxes the spine muscles, thus expanding his artistic vision and his charisma. It's as Arthur Rubinstein once expressed in an interview a sharing of the vital substance with the audience which-while it's a totally unconscious process- makes their souls respond to the soul of the performer ... you may call it a magic process, but one day science will prove it.
Peter Fritz Walter, it is interesting that you bring up Arthur Rubinstein, one of my favorite piano players. Arthur Rubinstein made virtually no mannerisms, facial grimaces, or wiggling around when he performed. So I must respectfully disagree with your theory that Jarrett's movements "free up vital energy". Many performers have quirky mannerisms when they play. The listener who is annoyed by them can chose to ignore them or simply not listen to the music. With Jarrett I chose to ignore the mannerisms and simply listen to the wonderful music.
someone DISLIKED this?? someone listened to that intro and said, "nah, that doesn't sound very good at all." That person better be the biggest badass on the planet....
Good grief, why are some people getting so upset by KJ's mannerisms! Do you think that these are affectations, perhaps? They happen, so who cares. What matters is the music that emerges, and the music is truly masterful and beautiful. Other masters of jazz piano (Art Tatum, Oscar Peterson, Bud Powell, etc) were all technical masters, but none come close to bringing the entire music together as Jarrett and trio do. The only other jazz group that has done this is Miles Davis's quintet of the late 1950s, and unfortunately that only last a few years.
late 50's you got it pops. the much touted by many 60's doesn't even come close in my, never humble opinion. Yeah, all the straight ahead guys got bored playing standards, the same old be bop and hard bop and cool bop ways, so they deconstructed, and conceptually and intellectually took them in new and faster and harder and more complicated and obtuse and less lyrical directions..... zzzzzzzzz..........boring ....click
Sí, sigo disfrutando mucho. Keith Jarrett es mi maestro. Desde hace más de 20 años! Compré el disco "My Song" en el 79. Eran otros músicos, otro jazz, más europeo; y me sigue gustando. Pero desde que escuché al trio con Peacock y DeJohnette, se convirtieron en mis dioses. Keith es capaz de crear la melodía más grande con la espontaneidad de un niño. Supongo que conoces sus discos, pero te recomiendo "Live at the Blue Note" (6 cds), "Whisper Note" y "Standards" (I y II).
OMG Jarrett is so extremely goood! he doesn't just play beautifully, he recreates the tune in a totally brilliant, surprising, exciting way. no one will ever do it any better. KJ is a god. verdadeiro arraso! absurdamente bom, nao tem pra ninguém. I love the man.
Gary Peacock's tone sounds just like Eddie Gomez !! Wow.....very unusual for Gary, but he must be using a new set of strings, a new pick-up transducer, and amplifier....what a fat phat sustained rich tone. 'Love It !!!
Relaxation Music Sanctuary I’m in the age group you describe and I have been loving their music for years. Can’t find other people my age who even know who they are tho
Definitivamente Jarrett es para escucharlo... verlo es insoportable, y en vivo lo más engreído e histérico que puede ser un hombre.... seguiré escuchando sus discos, salute!!
Music is one of the very few ways left to keep in touch with higher realities.The same,when shamans dance,and humm to get into trance,and bring down some sacred information to this materialistic world.
Man he wouldn't be Keith Jarrett without the mannerisms. Leave him be. Imagine if he contained himself and enjoyed the piano less when growing up, then quit.
no, no me quejo, todo lo contrario!!! es más, hoy lo ví de nuevo y está sincronizado. Hace 3 meses no, supongo que sería mi ordenador, lo siento. Sólo te digo que estos son mis ídolos musicales desde hace 20 años.
sorry moom1000...this response was aimed at the complainers who don't like Jarrett vocalizations, not you. They probably don't like the same thing on Glenn Gould's recordings. Fortunately, they don't seem to patronize the gigs, better for those of us who do.
This is incredibly beautiful, a beautiful song played beautifully but I can't stand looking at Jarrett play because all the hoaky mannerisms, facial grimaces, and squirming around like someone is sticking a hot poker up his ass simply annoys the hell out of me. But the music itself is sublime so I just listen and don't watch.
thred Edwards So am I to understand that you understand what I am saying? My point is quite simple. His playing his absolutely beautiful. He is one the best piano players around. But I can't stand watching him so I just listen and that is good enough for me.
I my eye's, he's the best jazz piano player in the world. So.. he can do anything. Anybody forces you to watch him, so it's a kind of pointless comment.
harrissimo Lol ! yes I know what your saying.It's like trying to bring musical expression to a primate level I guess.Perhaps a small sound proof box on his head....
Amazing! These guys read each other like open books... btw, for all those folks who keep complimenting KJ's butt, I love him but I wish my stomach was as flat as his ass. And if you are one of the ones who complain about his vocalizations, mannerisms, or personality, go listen to someone else. With all the flack he catches, if he could stop, I think he would have a long time ago... to keep listening and complaining is simply masochistic...
OH NO!!!!!!!!!!! WHAT IDIOTS CAN'T DIG KEITH JARRETT PERIOD????????????????? HIS FACIAL AND BODY MOVEMENTS, (HAS THE CUTEST AND DAMN SEXIEST BUTT I'VE EVER DONE SEED!!!!!) NOT TO MENTION HIS PLAYING AND SINGING!!!!!!!!!!!!!!!! Y'ALL GOTTA BE JOKING!!!!!!! LISTEN TO SOMEBODY ELSE!!!!!!!! YOU HAVE NO RIGHT TO SAY ANYTHING BAD ABOUT KEITH OR THE REST OF THE TRIO!!!!!!!!! AMEN AND AMEN FROM BETTY GREEN MCLAMORE, AN EX-JAZZ VOCALIST IN DALLAS, WHO IS ONLY 5 YEARS OLDER THE KEITH!!!!!!!
Ладно, прокомментирую, благо, настроение подходящее. Errol Garner делает все это не глядя на клавиши так, будто это ему доступно сделать одной левой. При этом жутко потеет! Кейт не потеет, но делает вид, что жутко напрягается. При этом оба творят шикарную музыку. Мне ближе Garner!
@moom1000 Most pianists hum. The rest is an act, followed by a good scolding of the audience. Don't cough, if you fart, you will be shot. Stay away from KJ concerts, then things will be nice and quiet for this infant.
Affections, or mannerisms, he is entitled to them as an artist. But to me they are distractions. And his squeaky "vocalizations" or whatever you call them, I find to be terrible and, dare I say, un-musical. Just my considered opinion, no more or less valuable than anyone else's. C'est la vie.
I don't care how he looks, (although I must admit that his mannerisms [?!] don't fit his tone nor actual spirit the music at all - they seem almost exaggerated like when Sting pouts after certain/phrases or notes), Jarrett should really control the vocalizations - it's annoying. It seems as though he's hearing other music or should be playing a different instrument to get the sound he hears in head / vocalizations. It get that he's "feeling it" and this is the manifestation of that, but….. Otherwise, this trio consistently produces some the best jazz ever performed or recorded. They are "one" when they play. If you can tolerate Jarrett's buzzing and wheezing, then you're in for some beautiful music.
what are these ridiculous antics? and is it him mouthing that ludicrous "ai-ee-ai - ee..." ? Give me strength I think it was Andras Schiff who said the music should move, not the player...
no one going to mention gary peacock?his tone, time and harmonic concept are unbelievable. that is some of the nastiest walking ive ever heard
Absolutely!!!
Gary Peacock is the absolute best.
An absolute beast
Steven Spielberg once said in his filmed biography that as a young amateur teen filmmaker he went to see the 1960's movie "Lawrence of Arabia" and after seeing it he wanted to quit film making completely, for he realized he could never capture the
magnificence and splendor of what film director David Lean accomplished. But Steven went back again and again to watch the movie and was inspired by it and learned from it. As Jazz pianist, who has regularly listened to Keith Jarrett for many years, I am moved exactly like Spielberg was.
Hearing one of Keith's magnificent piano solo introductions to his jazz trio tunes, equally inspires me and depresses me to the limits of emotion. So moved am I in soaking up all the beauty and subtlety of his sensuous harmonies and nuanced tones, yet even after discovering the secrets of his magic, I feel incapable of even attempting to climb this musical mountain.
I don't know what other people hear, but I do know what Jazz piano players hear, and what Keith does, especially in his piano solo introductions is both magical and mysterious. His playing makes lesser pianists want to either quit or dive into endless study and practice. And realistically, what Keith does makes pianists do both at times.
Emotionally speaking, Keith is a virtuoso expressionist. His personally developed piano harmonies are a tour of deep emotional colors and feelings. The emotional harmonies that Bill Evans invented have been continued and reinvented by Keith Jarrett. These two great pianists are perhaps the only two Jazz pianists who have painted with such a varied and deep palate of subtle emotions.
Bill's harmonies were greatly influenced by his feelings, and his feelings were greatly influenced by, if not created by his heroin use, as well as the pain of his withdrawal from it at times. As far as we know, Keith has not been greatly influenced by drugs or withdrawal from drugs, but there is a distinct difference between the signature emotions of both pianists.
Bill expressed a sort of sadness, a distinct melancholy, a kind of "blue joy". Keith, expresses a deep touchingly beautiful sincerity. A romantic, loving sweetness, not by any means saccharine or corny, but instead a purity of heartfelt tenderness, in a harmonic inventiveness that allows the listener to discover new emotions he or she never knew existed.
Music is emotion. Elementary music paints with primary colors. Major harmony is happy and positive. Minor harmony is sad and pessimistic. But far beyond simple happy or sad is the subtle and intricate emotions that arise from Keith Jarrett's piano harmony. Beautiful for sure, but much more than just beauty, he mixes psychological and emotional sensations in an alchemy of quickly changing chords, all within a single minute of his piano solo introductions.
The mysterious and subtle emotions I go through and feel during the first minute of a Keith Jarrett solo piano introduction total far more than feelings I would encounter within a week of normal living. And, within that week I may have watched several different films or read several different authors all of whom would move me toward feeling something.
I don't know what other people feel when listening to a Keith Jarrett piano solo introduction, but from their comments, I can only assume they are deeply moved. Whether or not they would be as deeply moved by music which is not nearly as evolved or sophisticated as Keith's, is unknown.
For a Jazz pianist who is envious of Keith, it is all about being able to perform the same magic that one hears Keith perform. Not trying to be impressive, because Keith is not a purposely impressive player at all. He doesn't show off his technique or his abilities. In fact he has purposely simplified his playing in order to keep it purely artistic.
Pianists regularly ornament their playing in an attempt to impress the listener, and usually it works. Listeners don't know the difference between show-off playing and real artistic technique. Keith's playing is so highly artistic, so purely and sincerely musical that his great artistry becomes impressive, and to most listeners it is hard to tell the difference between a virtuoso and an entertainer.
Keith is a virtuoso pianist, but beyond that he is also a virtuoso composer, developer of harmonies, and real-time composer genius. Keith's entertainment value is delivered via his gyrating, mannerisms, singing, moaning, and acrobatics. None of it is intentional as entertainment. It is all part of his looseness and his soul expressing itself with no fear of judgement or embarrassment.
For many, it becomes a comedy act, and an annoyance. But for those of us who simply tune out his singing and gyrating, it is not a problem, because the music and playing are so compelling, that any distractions are irrelevant. Ironically, Keith will admonish if not cuss out an audience for a simple cough or sneeze, because he says it interrupts the flow of the music and the expression of it.
Yet he is perfectly content to gyrate all over the place and moan like the neighbor's cat in heat. But one thing that piano players know that audiences don't know, and that is the fact that playing piano, especially playing piano at the extremely high level of musicianship where Keith plays while gyrating around is not only extremely difficult, but nearly impossible.
Closing your eyes, gyrating around, standing up, then down on the bench, then twisting...all of it is very very difficult to do while playing piano. Imagine writing on a piece of lined paper with a pen, trying to keep the ink between the lines and the penmanship perfect while standing and gyrating and closing your eyes. Nearly impossible.
So Keith's "body expressions" make understanding his piano technique even more mysterious and magical because doing both at the same time is ridiculously difficult.
Keith Jarrett is one of the world's greatest Jazz pianists, and one of the world's greatest pianists period. He creates more touching music from two octaves in the center of the keyboard than entire orchestra. Personal, touching, beautiful mysterious, yet always moving and always delightfully enriching. Pianists and listeners alike treasure his playing.
Sounds like you needed to get that off your shoulders:/) wry nice words indeed and yes, my all-time fav! His intros are untouched…Crazy stuff!
Your solar plexus absorbs this beauty/poingancy. Isn’t it wonderful that is how you are made.
The groove is already in the air and he rides with it.
0:02 - 1:14 Every time I hear a Keith Jarrett Piano Intro played, I think each one should be collected and made into a C.D. of his amazing piano intros. The richest, most subtle and elegant harmonies and tones, expressed in the deepest most soulful way.
Never showing off, never ostentatious, but instead, trying to expose the music, never covering it up with too many notes. This short, one minute and twelve second piano intro is a piano lesson which I will have to work on for at least half a year to imitate, not even coming close to mastering it.
0:02-1:14 This is a minute of pure piano bliss. Keith's solo piano introductions are the richest, most expressive, subtle elegantly delicious music he plays. Just he and only two octaves of the keyboard in quiet intimacy that melts my soul.
Another amazing cut from this fine trio!! What a body of work they have compiled for us to listen to. One of the greatest jazz trios, truly.
I think what thrills me most in Keith' music is that moment when you expect a melody or a tone and you won't get it; you get something else instead and after you concluded and implemented it in what you just heard before - what made me expect something - it makes even more sense to my ear than what i was expecting. the beauty about it is, that this moment, when i was false and keith was right brings so much joy.
Viva the unexpected!
OOOOOWEEEE R8IGHT ON!!!!!!!!!!!!! BETTY GREEN
To your comment about unexpected notes that Keith Jarrett plays, I agree with you completely. In his playing of the Rogers and Hart standard "With A Song In My Heart" he plays the intro solo piano in rubato mode and at 1:05 he plays an
entirely unexpected high resolving chord with a forth on top....totally knocks me out ! Unexpected, yet so absolutely right and fitting emotionally in dramatically expressing this melody.
I think Keith's unexpected notes are little messages actually intended for other Jazz pianists to hear. They say, "You thought you knew my playing, but here's a little reminder that I'm still way ahead of you."
Personally, I would be happy to trail far behind, just picking up notes and harmonies that he has discarded. His left hand harmonic voicings are very difficult to figure out and copy, even though they may be only three or four notes.
But the harmony created by those few notes can immediately create distinct and complex emotions in the listener. Sadness, joy, elegance, beauty, fragility, sensitivity, tenderness, mystery, and so many other emotions, all are felt by hearing only a few notes played by his left hand.
It is a kind of musical alchemy. Harmonic magic.
Piano slight-of-hand.
Words don't come close to describing the depth of Jarrett's playing!!!!
Shared on Google+, May 8, 2018 : *Happy Birthday to Mr Keith Jarrett!*
Only non-musicians are bothered by Keith's animated mannerisms and his vocalizing. Jazz pianists who study Keith, and who are inspired by Keith, are able to ignore these tiny distractions, because they are paying attention to the avalanche of Keith's rich musical output, his phenomenal keyboard technique, his magical harmony, his amazing improvised lines, and his unbelievable elegant polished tone. The irony of his performances has been the fact that he thinks nothing of moaning, groaning and caterwauling through his performances, much to the chagrin of his audiences' ears, yet if even one of them coughs or sneezes during his playing, he is upset, if not angered. I don't think Keith has ever been aware that this is a huge injustice in the artist-audience relationship.
A genius at work! Man, do I love how these amazing pianist know how to reharmonizes chords on classic songs! Another time Keith Jarrett went into "beast Mode"!! I love how he uses his whole body as another instrument!
The Best! Ungorgottable!!
The expression of reverence on Jack and Gary’s faces during that intro.
Someone probably disliked the fun he's having while playing, i.e. the humming, dancing, grimaces, etc. You should be able to see beyond these superficialities to truly appreciate his genius. These were never a turn off for me, quite the contrary, they make him more interesting. You can see how much he loves what he's doing.
uno dei migliori pianisti degli ultimi 100 anni, altro che allevi
If only I knew play this way!
El piano le toca a él. Es KJ quien suena. Qué belleza
That intro is gorgeous... master!
GENIOOOOOOOOOOOOOOOOOOOOOOOUS!
Great tune; great performance! Jack DeJohnette is also in great form!
Shivers down my spine.
Genius
what can words add facing such a musical enlightenment?
The Best of group
I would like to make a remark about Keith's perceived mannerisms, something he has in common with foremost the late Glenn Gould-but both were largely misunderstood because of those behaviors.
Keith expresses himself in a most spontaneous manner, and his circulating or up-and-down head movements are functional in that they free up vital energy, in my opinion, as he relaxes the spine muscles, thus expanding his artistic vision and his charisma. It's as Arthur Rubinstein once expressed in an interview a sharing of the vital substance with the audience which-while it's a totally unconscious process- makes their souls respond to the soul of the performer ... you may call it a magic process, but one day science will prove it.
Peter Fritz Walter, it is interesting that you bring up Arthur Rubinstein, one of my favorite piano players. Arthur Rubinstein made virtually no mannerisms, facial grimaces, or wiggling around when he performed. So I must respectfully disagree with your theory that Jarrett's movements "free up vital energy". Many performers have quirky mannerisms when they play. The listener who is annoyed by them can chose to ignore them or simply not listen to the music. With Jarrett I chose to ignore the mannerisms and simply listen to the wonderful music.
To all those who are annoyed by Keith's vocalizations and mannerisms, he's not playing the music, the music's playing him!
Roger Newcomb - Couldn't concur with You more.
There is a difference between driving yourself and having someone----or something-----driving you.
@@leelarson107 playing music is so strange. so many choices.
when i grunt it's a sign i'm really playing. it's not a choice.
Love this song ! And...performing by Keith it's better than to be happy !
someone DISLIKED this?? someone listened to that intro and said, "nah, that doesn't sound very good at all." That person better be the biggest badass on the planet....
One of the great contemporary pianists
This is the way bass should be mixed volume wise! Great to hear every note!
Keith's lines are so pure in terms of being in the moment, and as a result are life affirming. It doesn't get any better.
GIANT
Toujours aussi brillant.Jeu d'un grand virtuose!!!
Among the best performances I´ve ever heard from this trio.
me too !
Good grief, why are some people getting so upset by KJ's mannerisms! Do you think that these are affectations, perhaps? They happen, so who cares. What matters is the music that emerges, and the music is truly masterful and beautiful. Other masters of jazz piano (Art Tatum, Oscar Peterson, Bud Powell, etc) were all technical masters, but none come close to bringing the entire music together as Jarrett and trio do. The only other jazz group that has done this is Miles Davis's quintet of the late 1950s, and unfortunately that only last a few years.
Michael Ellis Well put
late 50's you got it pops. the much touted by many 60's doesn't even come close in my, never humble opinion. Yeah, all the straight ahead guys got bored playing standards, the same old be bop and hard bop and cool bop ways, so they deconstructed, and conceptually and intellectually took them in new and faster and harder and more complicated and obtuse
and less lyrical directions..... zzzzzzzzz..........boring ....click
true....the whole concert is a body of work itself...a text book on harmonics, time, and phrasing, not to mention superb choice of material.
Sí, sigo disfrutando mucho. Keith Jarrett es mi maestro. Desde hace más de 20 años!
Compré el disco "My Song" en el 79. Eran otros músicos, otro jazz, más europeo; y me sigue gustando. Pero desde que escuché al trio con Peacock y DeJohnette, se convirtieron en mis dioses. Keith es capaz de crear la melodía más grande con la espontaneidad de un niño. Supongo que conoces sus discos, pero te recomiendo "Live at the Blue Note" (6 cds), "Whisper Note" y "Standards" (I y II).
OMG Jarrett is so extremely goood! he doesn't just play beautifully, he recreates the tune in a totally brilliant, surprising, exciting way. no one will ever do it any better. KJ is a god. verdadeiro arraso! absurdamente bom, nao tem pra ninguém. I love the man.
This guy gets it.
For ever the best Muscetiers!!!!!!!!!
Gary Peacock's tone sounds just like Eddie Gomez !! Wow.....very unusual for Gary, but he must be using a new set of strings, a new pick-up transducer, and amplifier....what a fat phat sustained rich tone. 'Love It !!!
Absolutely stupendous--incroyable!
That intro was so beautiful I had to transcribe it.
7 years late, but is there a pdf?
Coisa mais linda!! Bravissimo!
Qué grandes!!! Qué pena que no esté sincronizado video y audio.
The two all-time greatest ranting NFL coaches, Jim Mora and Dennis Green, make a good rhythm section.
Cool drum solo at 7:22
Keith's Singing though! wow gotta love em' lol
I wonder if youngsters enjoy Jarrett-Peacock-DeJohnette as much as I did when I was in my twenties and these guys recorded this.
Relaxation Music Sanctuary I’m in the age group you describe and I have been loving their music for years. Can’t find other people my age who even know who they are tho
Tengo "Tribute", muy buen disco; pero no conozco "Still Live". Lo voy a buscar. Muchas gracias.
Definitivamente Jarrett es para escucharlo... verlo es insoportable, y en vivo lo más engreído e histérico que puede ser un hombre.... seguiré escuchando sus discos, salute!!
he is a genius musician- no doubt....
"Второе Пришествие!"Keith Jarrett Бывает джаз а бывает Keith Jarrett! Опять всё просто но супер!!
Music is one of the very few ways left to keep in touch with higher realities.The same,when shamans dance,and humm to get into trance,and bring down some sacred information to this materialistic world.
Man he wouldn't be Keith Jarrett without the mannerisms. Leave him be.
Imagine if he contained himself and enjoyed the piano less when growing up, then quit.
@moom1000 I agree but we should appreciate the beauty coming out of something and not the geniusness, and that for everything ! :)
no, no me quejo, todo lo contrario!!! es más, hoy lo ví de nuevo y está sincronizado. Hace 3 meses no, supongo que sería mi ordenador, lo siento. Sólo te digo que estos son mis ídolos musicales desde hace 20 años.
genial!
ドラムがたまらない
That dude is flying!
❤❣️💔🌹❤️
keith fue como siempre, pero el batero, la rompio al final
and what should we say about DeJohnette's solo ?
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4:35 - 4:41 wooooooooooooooow
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8:22
sorry moom1000...this response was aimed at the complainers who don't like Jarrett vocalizations, not you. They probably don't like the same thing on Glenn Gould's recordings. Fortunately, they don't seem to patronize the gigs, better for those of us who do.
@moom1000 dislike??? this is the proof that god exists or if doesn't exist, he is god...
6:28 - 6:51
FA-BU-LOUS!!!
he look feel like play guitar not paino ??
keith and his sweet mosquito...XD
If only he would leave his constipation problems at home before a concert performance. Still a great pianist.
This is incredibly beautiful, a beautiful song played beautifully but I can't stand looking at Jarrett play because all the hoaky mannerisms, facial grimaces, and squirming around like someone is sticking a hot poker up his ass simply annoys the hell out of me. But the music itself is sublime so I just listen and don't watch.
thred Edwards
So am I to understand that you understand what I am saying? My point is quite simple. His playing his absolutely beautiful. He is one the best piano players around. But I can't stand watching him so I just listen and that is good enough for me.
I my eye's, he's the best jazz piano player in the world. So.. he can do anything. Anybody forces you to watch him, so it's a kind of pointless comment.
harrissimo Lol ! yes I know what your saying.It's like trying to bring musical expression to a primate level I guess.Perhaps a small sound proof box on his head....
Amazing! These guys read each other like open books... btw, for all those folks who keep complimenting KJ's butt, I love him but I wish my stomach was as flat as his ass. And if you are one of the ones who complain about his vocalizations, mannerisms, or personality, go listen to someone else. With all the flack he catches, if he could stop, I think he would have a long time ago... to keep listening and complaining is simply masochistic...
5-0
OH NO!!!!!!!!!!! WHAT IDIOTS CAN'T DIG KEITH JARRETT PERIOD????????????????? HIS FACIAL AND BODY MOVEMENTS, (HAS THE CUTEST AND DAMN SEXIEST BUTT I'VE EVER DONE SEED!!!!!) NOT TO MENTION HIS PLAYING AND SINGING!!!!!!!!!!!!!!!! Y'ALL GOTTA BE JOKING!!!!!!! LISTEN TO SOMEBODY ELSE!!!!!!!! YOU HAVE NO RIGHT TO SAY ANYTHING BAD ABOUT KEITH OR THE REST OF THE TRIO!!!!!!!!! AMEN AND AMEN FROM BETTY GREEN MCLAMORE, AN EX-JAZZ VOCALIST IN DALLAS, WHO IS ONLY 5 YEARS OLDER THE KEITH!!!!!!!
Ладно, прокомментирую, благо, настроение подходящее. Errol Garner делает все это не глядя на клавиши так, будто это ему доступно сделать одной левой. При этом жутко потеет! Кейт не потеет, но делает вид, что жутко напрягается. При этом оба творят шикарную музыку. Мне ближе Garner!
@moom1000 Most pianists hum. The rest is an act, followed by a good scolding of the audience. Don't cough, if you fart, you will be shot. Stay away from KJ concerts, then things will be nice and quiet for this infant.
Affections, or mannerisms, he is entitled to them as an artist. But to me they are distractions. And his squeaky "vocalizations" or whatever you call them, I find to be terrible and, dare I say, un-musical. Just my considered opinion, no more or less valuable than anyone else's. C'est la vie.
PLEASE, someone tell Keith Jarret not "sing"
Jorge Galindo Amen! I wish he could just sit and play without all the histrionics. But on the other hand, maybe that's why he's so great...
Why can't Keith use a muffler so we can enjoy his music.Stuff a towel or a gag ball in his mouth or something.
I don't care how he looks, (although I must admit that his mannerisms [?!] don't fit his tone nor actual spirit the music at all - they seem almost exaggerated like when Sting pouts after certain/phrases or notes), Jarrett should really control the vocalizations - it's annoying. It seems as though he's hearing other music or should be playing a different instrument to get the sound he hears in head / vocalizations. It get that he's "feeling it" and this is the manifestation of that, but….. Otherwise, this trio consistently produces some the best jazz ever performed or recorded. They are "one" when they play. If you can tolerate Jarrett's buzzing and wheezing, then you're in for some beautiful music.
So poignant.
bro a terrible flow👎👎👎
THIS IS GARBAGE.
DON’T TALK SHIT.
what are these ridiculous antics? and is it him mouthing that ludicrous "ai-ee-ai - ee..." ?
Give me strength
I think it was Andras Schiff who said the music should move, not the player...
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