with one hand perhaps, like Oscar. Maybe he would do it. But he's not getting his left hand back. See R Beato's recent vid of Jarrett at home. Desafinado. He's still way ahead of me with one hand, on a tune he probably hasn't played since he did dinner music sets when he was 17.
Also, is amazing to listen Jack DeJonette (who, among other things, seems to like playing very freely with the pulse, stretching and contracting it elastically and so), playing in this setting with a very beautiful straight drive absolutely "in the pocket". Is by things like these that he is a Legend
See end of last head, look at time, 6 minutes left... :D On this song I always remember when Miles hints at the never ending turnaround on his relaxin' album and I always regretted he ended it so fast. I kind of get a kick out of seeing guys refusing to end a song. Keith is really in the zone as always on this vid, I hope I can get even close to this level of creativity one day. Totally inspiring.
Music makes people different. It affects the brain that is a fact. I have alot of respect for artists. It takes a major sacrifice to do music all your life like these guys do.
Also, he doesn't even need to count in. He always starts every piece he plays on his own and the drums and bass join halfway through the second bar... hilarious. Love KJ so much.
@@UkuleleAversion Keith Jarrett's so-called freewheeling at the piano is often chaotic, unimpressive, lacking depth and filled with his incessant whining, grunting and oh-so-terrible PHYSICAL JERKING AND QUIRKING. JArrett;s piano stye is a cheap cut-out. Jarrett might as well keep whining at the piano, Jarrett will never have the piano depth, piano brilliance, awesome creativity, textured beauty on all levels as the late great Bill Evans. Period.
saucy risi Me neither. He says Keith Jarrett is a cheap cut out. Wow that’s insane. Keith Jarrett is the premiere pianist of our time. I haven’t heard anyone who comes even close to Jarrett. No one tops him, no one
This sheer joy of watching this trio work together is so rewarding. One can like or dislike Keith's body movements or vocalizations, but all you have to is watch Gary Peacock's expression of delight as Keith unfolds his song. Jack is the timekeeper of the last half-century, from Chas. Lloyd to Miles to Keith. Genius at play.
Only these guys can play a 3 6 2 5 1 ending for 5 minutes and keep the tension so high without using crazy material like coltrane changes. What a performance!
Es un animal de la musica ¡¡GENIAL¡¡ Esplendidos todos ¡¡ MAGNIFICOS¡¡ GRACIAS ¡¡A TODOS POR ESTE DESBORDANTE EJEMPLO DE ...... TODO Mil gracias ¡¡¡ keith trio ¡¡magnificos¡¡ jnb
I don't know if you guys know who Gonzalo Rubalcaba is, A great Cuban jazz piano player. After watching this I think he got a lot of chops and ideas from Keith Jarratt.
1:31 - 1:47 such a hip moment from Gary and Keith. But that same feeling lasts to about 2:20. Notice Jack too. Just ride and hat. The first 2 choruses should be required listening for rhythm players. It's ok just to swing for a few choruses, no need to murder the snare drum, follow every movement of the piano etc play *against* everything.
ok like i said the out term was inappropriate, but more the Ab ii vi i is not in its traditional form since 2 is an iv lydian b7 (at that time) E♮ (over B♭) is what you seems to hear out to be clear.if you do not wanna talk about theory does not say anything,"out" term means something precise in jazz. see you my friend
the "we were having a bad day" vision in France also nice, but not on this level, on a day which they we're all apparently having a very good day indeed..
Keith gets a good sound despite not having the broad shoulders and heavy and thick hands and fingers of a Bill Evans (monstrous!), Mulgrew Miller or Kenny Barron. Keith stands up to get more body weight on the keys and insists on the best, resonant pianos with exquisite, responsive keys to coax tones that surpass the melodies in his head and throat. Unlike, say, Oscar Peterson or Monty Alexander, he spreads out the stage, giving each member of the trio singular space as a special voice in the trio. As a result, the group isn't as infectiously cohesive, or as viscerally swinging, as the trios that place the bass right next to the pianist's left hand and the drums behind the pianist, with the high hat cutting right into the pianist's space with its critical off-beat "chics." Monty's configuration is a three-some that really "cooks" like a single unit, an engine of unfailing swing. When DeJohnnette is set up to the extreme stage-left, his high-hat's "chic" on 2 and 4 is pretty much lost except to listeners to the extreme right of the stage.
First, I'm a fan. However....Oscar's groaning and Errol's grunts never bothered me but Keith's utterances can really be distracting at times. Still, this swings like crazy.
@@richrokk You have no idea what's going on. His singing isn't for you or for entertainment. He is channelling chi he is taking his conscious mind out of the equation. It is how he becomes a conduit for big mind as they say in Zen. He also doesn't care if anyone finds it irritating.
He'll, some my favorite pieces of his I just sing along. And you know when I'm following and concentrating so intently on his playing, I stop hearing it separate. It just morphs into the sound of the jarrett's piano. Except when it lets out a big aaahhhhhh after an exceptionally long run. Then I just aaaaahhhhhh along with him. In my house, Keith Jarrett plays in a quartet. 😊
the only limit that applies to the theory is not to be able to analyze it anymore. at the risk of repeating myself here we are in a case of more traditional, it is so presumptuous to describe the sequence out playing. to complete out game is all but anything, it is also a very particular sense,and can be analysed the same way,but as the name suggests, is no longer in the same field as the diatonic set in
@@Zacharysandilands No, calm down moron. I think i was talking about the way ppl are interpreting "out playing" which in most case still refers to diatonic modes, while "out playing" per se would refer to something you can't correlate to the actual harmonisation at all, period.
Yikes. This is a remind that I ordered Herbie's course last sept. and need to get to work on it. Just learning a couple of licks or fingerings would be worth it to me. The goal (for me) is not to develop "my own sound" but to play all the jazz standards (2000?) with a cool and hip, swinging' touch.
Yeah and learn the cheesy lyrics to those 2000 standards too. So that you can really play them with spirit. Then only you can show up in jam, and people will be nice to you 'cause you're now 80 :d
I don't think it means anything that precise...to me it means veering out from the regular harmonic structure, which includes the common subs...but if you think about it, there is no very clear point at which something becomes "out"
I hope you're not trying to insult me. I just did 4 years of conservatory jazz piano, I've heard and played a lot of stuff in that time. And no, I'm not referring to Coltrane's playing. I'm referring to his (chord) changes. And not crazy as in not good, but crazy as in hip. Coltrane changes sound way more hip than 3 6 2 5. It can be interpreted as one but it's certainly not as straight forward in sound. You DO know what Coltrane Changes even are, right?
Vayshen I mean that gets way too subjective to debate. I don't like playing countdown or 26-2 anymore than I like playing oleo. It's totally what I'm up for in the moment. Like I feel that rhythm changes and simpler progressions have a larger potential to change into something else entirely via whatever harmonic alteration you feel on the bandstand. If I'm in the mood to rip II-V's then yeah I'll call giant steps but like if I want something I can mold and shape then I'll even call like footprints or something with not a lot of rules. I mean neither sound more hip than the other if you play both with a little fervor.
People who criticize Jarrett's emotive releases during his outstanding career do not have any Multi-Dimension intelligence in them. THEY ARE FLAT, and cronically boring! They would be better off keeping their opinions to themselves!
Does anyone really think that Gary Peacock and Jack DeJohnette would align themselves so completely and artistically with Keith if they didn't have a great musical experience? If you don't like it ... don't listen.
I'm put in mind of Eric Morecombe and Andre Previn "I'm playing all the right notes, but not necessarily in the right order". Sorry but some of the meaning is lost for me. I think Jarrett is feeling something a bit deeper in his own mind than can reach me a mere onlooker trying to listen and understand too many notes and not enough space. It's what Bill Evans described on his solo album with track Never Let Me Go as being "a little carried away on this number" when he strung it out to 17 minutes.
I adore Keith Jarrett. He is Virtuosissimo! A Genius of the Art of Music, a Master of piano! Unbelivable! I thank God to be here for knowing him...
Peackock and Jack too
I miss Keith so much on the jazz scene. Wow. Let him recover and come and dish out such beautiful music to the listening public
with one hand perhaps, like Oscar. Maybe he would do it. But he's not getting his left hand back. See R Beato's recent vid of Jarrett at home. Desafinado. He's still way ahead of me with one hand, on a tune he probably hasn't played since he did dinner music sets when he was 17.
Man, he's given us so much music already, let him retire like he seems to want. He's certainly made enough money to live comfortably, God bless him
It looks like the audience is being rained on. Yet the place is full. Wow!
Thanks. Gary Peacock. RIP
May 12, 1935 - September 4, 2020
sad, sad, sad......
アケタさんの演奏今聴いているよピアノ弾いている姿を見て嬉しいよ。私は昔迷惑ばかりかて申し訳なかったです。アケタさんによく言われたインチキインチキドラム叩かせてもらってお世話になりました。今は朝から相当浮世離れしています。哲学ばかり読んでいます。夜は現代数学昼寝しながらジャズを聴いています。神経難病進行してます。立つ事はできません。でもまあなんとか生きています。西荻とは縁が合って西荻駅より少し吉祥寺駅よりコトニアと中央線のガード下の介護施設月曜日と水曜日に行っているよiPadでジャズばかりベッドで寝ながら聴いているか小難しい本を読んでいます。アケタさんもいつまでも演奏を続けてください。皆様によろしく言ってください。まだ生きているよ失礼します。郷です。
Also, is amazing to listen Jack DeJonette (who, among other things, seems to like playing very freely with the pulse, stretching and contracting it elastically and so), playing in this setting with a very beautiful straight drive absolutely "in the pocket". Is by things like these that he is a Legend
Yeah Gary.
This is a real trio, total counterpoint. I never tire of listening to this.
neeeeee-yeeeeeee neeeeeeeeee-eee!
r u sure?
See end of last head, look at time, 6 minutes left... :D
On this song I always remember when Miles hints at the never ending turnaround on his relaxin' album and I always regretted he ended it so fast. I kind of get a kick out of seeing guys refusing to end a song.
Keith is really in the zone as always on this vid, I hope I can get even close to this level of creativity one day. Totally inspiring.
A beautiful rendition of If was a Bell
Agreed. A fabulous rendition.
Music makes people different. It affects the brain that is a fact. I have alot of respect for artists. It takes a major sacrifice to do music all your life like these guys do.
I can't stop coming back to this
His solo so incredibly beautiful
Deee deee deee UNGHHHH... Hah! awesome stuff!
Also, he doesn't even need to count in. He always starts every piece he plays on his own and the drums and bass join halfway through the second bar... hilarious. Love KJ so much.
Three cheers for Gary Peacock!
I hope they were having as much fun playing as I'm having listening.
As someone once said, Jarrett plays the piano as a beast to be tamed, while Bill Evans plays it as an extension of his body. Interesting perspective
Louise Picard Yeah, Evans’ style was very pianistic whereas Jarrett is more freewheeling.
@@UkuleleAversion Keith Jarrett's so-called freewheeling at the piano is often chaotic, unimpressive, lacking depth and filled with his incessant whining, grunting and oh-so-terrible PHYSICAL JERKING AND QUIRKING. JArrett;s piano stye is a cheap cut-out. Jarrett might as well keep whining at the piano, Jarrett will never have the piano depth, piano brilliance, awesome creativity, textured beauty on all levels as the late great Bill Evans. Period.
P J wow. i can't believe this comment exists.
saucy risi Me neither. He says Keith Jarrett is a cheap cut out. Wow that’s insane. Keith Jarrett is the premiere pianist of our time. I haven’t heard anyone who comes even close to Jarrett. No one tops him, no one
Go practice
This sheer joy of watching this trio work together is so rewarding. One can like or dislike Keith's body movements or vocalizations, but all you have to is watch Gary Peacock's expression of delight as Keith unfolds his song. Jack is the timekeeper of the last half-century, from Chas. Lloyd to Miles to Keith. Genius at play.
The times when I saw this trio are some of my most memorable Jazz experiences.
Not only timkeeper, he is a improviser and colorist
Wonderful music, wonderful trio.
OMG.... Beautiful!!!!
Tout simplement sublime, j'adore depuis longtemps ❤
Stunning trio!
Loved all,, bass, skins drums
Thanks. Toujours le magnifque Jarrett.
Like a lot of talented pianists, Jarrett can hit any note he wants. But the notes he wants to hit, that's what makes him different. Not of this Earth.
oh contraire, and all the better for it.
Only these guys can play a 3 6 2 5 1 ending for 5 minutes and keep the tension so high without using crazy material like coltrane changes. What a performance!
3 6 2 5, not 3 6 2 5 1 (a small correction:) ).
1 comes only once, at the very end.
Well put!
Beautiful song, and specially because it was after the great "Solar-Extension" interpretation!!
Magical moments
One of the best on any instrument!
I like Keith's embellishments on the reiteration of the head. Keith laughs, and they actually are funny, in a cute way.
ピーコックのソロが本当に大好きです^^
SO AMAZING!!! DAMN!!
whoa, talk about an arc! killin'
master Keith
Es un animal de la musica ¡¡GENIAL¡¡ Esplendidos todos ¡¡ MAGNIFICOS¡¡ GRACIAS ¡¡A TODOS POR ESTE DESBORDANTE EJEMPLO DE ...... TODO Mil gracias ¡¡¡ keith trio ¡¡magnificos¡¡ jnb
Beautiful !
Thanks
creativity .
very good
the really legend already
Beautiful
This pianist guy was somewhat infected with jazz. pure genius.
Masterpiece
5:41 - 5:50 Thanks Jack!
Keith's music reminds me that melody should come from feeling.
amazing
BravooooO !!!!
I love everything about Mr Jarret's unique musicianship grunts n all. Those who find his vocal expresssions annoying are musically shallow minded.
Leroy Osbourne!!!
Leroy Osbourne I like his grunting, too! Helps covering up his shitty playing.
San Nervosa Just for you my dear: And he doesn't swing either.
Oscar Genter you moron, i bet YOU can't swing for shit.
e daniel: Although an eccentric pianist he has got a great sense of jazz whose trio helps a lot.
Genial...
Genialissimo!
A música em estado surreal...!
Esse cara simplesmente extrapola no que ele sabe fazer com grande maestria...
class plus!
I don't know if you guys know who Gonzalo Rubalcaba is, A great Cuban jazz piano player. After watching this I think he got a lot of chops and ideas from Keith Jarratt.
Unreal
Just enjoy the music man!!
참 좋습니다.
check out that bass playing!
I wish I could isolate Keiths vocal utterances.....that would be very, very interestING FOR SURE!!! ! !
1:31 - 1:47 such a hip moment from Gary and Keith. But that same feeling lasts to about 2:20.
Notice Jack too. Just ride and hat. The first 2 choruses should be required listening for rhythm players. It's ok just to swing for a few choruses, no need to murder the snare drum, follow every movement of the piano etc play *against* everything.
Nice observation
For Garry walking transcription:
0:06
1:36
Micidiale (in trance) questo è JAZZ
that last chorus...wooo!
12:32 Whoo!
Jack's rare traditional grooving that is rare from him; usualy more in the contemporary mode.
This concert was in the rain
He gets like that when he wears that shirt.
11:37 they all look in pain
The shirt has a voice!
Top , klasse
How good was Gary Peacock? Jesus Christ.
😀🌱❤️🌸
ok like i said the out term was inappropriate, but more the Ab ii vi i is not in its traditional form since 2 is an iv lydian b7 (at that time) E♮ (over B♭) is what you seems to hear out to be clear.if you do not wanna talk about theory does not say anything,"out" term means something precise in jazz.
see you my friend
If Professor Frink was a piano virtuoso, it would sound something like this...
the "we were having a bad day" vision in France also nice, but not on this level, on a day which they we're all apparently having a very good day indeed..
Ab is such a great key for this song f gets so boring. Keith always finds good alternate keys for standards
Oscar played in Ab. Check recording with Ray ca.‘65.
Keith gets a good sound despite not having the broad shoulders and heavy and thick hands and fingers of a Bill Evans (monstrous!), Mulgrew Miller or Kenny Barron. Keith stands up to get more body weight on the keys and insists on the best, resonant pianos with exquisite, responsive keys to coax tones that surpass the melodies in his head and throat. Unlike, say, Oscar Peterson or Monty Alexander, he spreads out the stage, giving each member of the trio singular space as a special voice in the trio. As a result, the group isn't as infectiously cohesive, or as viscerally swinging, as the trios that place the bass right next to the pianist's left hand and the drums behind the pianist, with the high hat cutting right into the pianist's space with its critical off-beat "chics." Monty's configuration is a three-some that really "cooks" like a single unit, an engine of unfailing swing. When DeJohnnette is set up to the extreme stage-left, his high-hat's "chic" on 2 and 4 is pretty much lost except to listeners to the extreme right of the stage.
Especially here . Peacock plays indeed, what he intends to play .. e.g. 6.00- 7.30'..
?? he never comes out,he only plays E min pentatonic over C Maj7 witch is the chord at that time (D-7 b5 / G7 alt / C maj 7)
Love this microphine , surely one balanced air free for jokes and sugar ...!!! great §:!.
First, I'm a fan. However....Oscar's groaning and Errol's grunts never bothered me but Keith's utterances can really be distracting at times. Still, this swings like crazy.
No, Kieth Jarret's vocal nonsense is not distracting it just plain sucks.
@@richrokk You have no idea what's going on. His singing isn't for you or for entertainment. He is channelling chi he is taking his conscious mind out of the equation. It is how he becomes a conduit for big mind as they say in Zen. He also doesn't care if anyone finds it irritating.
I like Keith’s vocal noise because it shows maximum effort ❤
He'll, some my favorite pieces of his I just sing along. And you know when I'm following and concentrating so intently on his playing, I stop hearing it separate. It just morphs into the sound of the jarrett's piano. Except when it lets out a big aaahhhhhh after an exceptionally long run. Then I just aaaaahhhhhh along with him.
In my house, Keith Jarrett plays in a quartet. 😊
🙄🌼🌱💙
the only limit that applies to the theory is not to be able to analyze it anymore.
at the risk of repeating myself here we are in a case of more traditional, it is so presumptuous to describe the sequence out playing.
to complete out game is all but anything, it is also a very particular sense,and can be analysed the same way,but as the name suggests, is no longer in the same field as the diatonic set in
what are you on about. Is english your first langauge??
@@Zacharysandilands No, calm down moron. I think i was talking about the way ppl are interpreting "out playing" which in most case still refers to diatonic modes, while "out playing" per se would refer to something you can't correlate to the actual harmonisation at all, period.
Il faudrait choper le type qui hurle c'est pas possible belle sensibilité rythmique cela dit
like a painter applying his palette to canvas
You don't paint, do you?
People that complain about the singing have ADD
wow Keith played this in Ab?
Trust me, he never plays anything in the obvious keys.
@@UkuleleAversion he often does though. He plays autmn leaves in the usual g minor for instance.
Chris True but if you’re talking about his Blue Note recording of Autumn Leaves he changes key a few times.
@@UkuleleAversion ah, ok. Thanks for the info.
Yikes. This is a remind that I ordered Herbie's course last sept. and need to get to work on it. Just learning a couple of licks or fingerings would be worth it to me. The goal (for me) is not to develop "my own sound" but to play all the jazz standards (2000?) with a cool and hip, swinging' touch.
Yeah and learn the cheesy lyrics to those 2000 standards too. So that you can really play them with spirit. Then only you can show up in jam, and people will be nice to you 'cause you're now 80 :d
I don't think it means anything that precise...to me it means veering out from the regular harmonic structure, which includes the common subs...but if you think about it, there is no very clear point at which something becomes "out"
Long ending
28 people arent ding dong dingin
Solo starts at 0:50
I'm scared
:)!!
A little bit like Erroll Garner!
If I were a bell I'd count Keith Jarrett;s piano play out In the 1st round.
I don't so much appreciate what Peacock plays, but what he intends to play.
Drummers a complete burn out
@@georgestreet8470 How?
私は寂しい、もっと伝えてほしい
:) :)
6:14
*L I C C*
I hope you're not trying to insult me. I just did 4 years of conservatory jazz piano, I've heard and played a lot of stuff in that time.
And no, I'm not referring to Coltrane's playing. I'm referring to his (chord) changes. And not crazy as in not good, but crazy as in hip. Coltrane changes sound way more hip than 3 6 2 5. It can be interpreted as one but it's certainly not as straight forward in sound.
You DO know what Coltrane Changes even are, right?
Vayshen ss
Vayshen I mean that gets way too subjective to debate. I don't like playing countdown or 26-2 anymore than I like playing oleo. It's totally what I'm up for in the moment. Like I feel that rhythm changes and simpler progressions have a larger potential to change into something else entirely via whatever harmonic alteration you feel on the bandstand. If I'm in the mood to rip II-V's then yeah I'll call giant steps but like if I want something I can mold and shape then I'll even call like footprints or something with not a lot of rules. I mean neither sound more hip than the other if you play both with a little fervor.
People who criticize Jarrett's emotive releases during his outstanding career do not have any Multi-Dimension intelligence in them. THEY ARE FLAT, and cronically boring! They would be better off keeping their opinions to themselves!
you said it, Richard H Blumberg!
Does anyone know really think that Gary Peacock and Jack DeJohnette would align with Keith for all these years ...
Does anyone really think that Gary Peacock and Jack DeJohnette would align themselves so completely and artistically with Keith if they didn't have a great musical experience? If you don't like it ... don't listen.
Can someone please transcribe his moaning?
+Julian Jayme it's all in ugh major
prime breathing in fun major ...approximate translation
He ain't even singing/scatting what he's playing....he just putting on a show lol
I'm put in mind of Eric Morecombe and Andre Previn "I'm playing all the right notes, but not necessarily in the right order". Sorry but some of the meaning is lost for me. I think Jarrett is feeling something a bit deeper in his own mind than can reach me a mere onlooker trying to listen and understand too many notes and not enough space. It's what Bill Evans described on his solo album with track Never Let Me Go as being "a little carried away on this number" when he strung it out to 17 minutes.