The Master! he makes all the 12 notes :blue , and no words to explain his fabulous swing !Nobody can make the piano speak ! the instrument is alive ! IN CRE DI BLE pianiste ! it's been 30 years that i listen Keith Jarrett and many great pianiste and i still can't believe the level of beauty , this pianist brings his music ! Bravo !
I would like to THANK the person who decided to put the professionally recorded version on for those who have to pay in order to listen to the great performance at the Blue Note. May you grow deaf when any Keith Jarrett comes on!
i think this play sounds like coarse,keith's lack of funkness and jack too loud and with gary i cannot catch what he plays. i think this video is bootleg level and low resolution. so members do not mind,ok
Surprisingly, this performance did not impress. Technique - yes, but the very idea of this melody, sad and thoughtful, is gone. The mood is completely lost. I did not expect such approach to this jewel from Keith. It's a pity.
I agree that this amateur video, taken by an audience member, using consumer-grade non-professional equipment does not present very well, however once you get beyond this fact, you have to strain your ear to listen, and it is worth it. Keith is playing this great standard in a very straight-ahead swing way, not his usual artistic way, but he and his trio are having fun with the tune, and the overall feel is good. Speaking of Jack being too loud and Gary hard to hear, I have discovered over the years of attending Keith's live performances that I've had the same problem when listening to this trio in person. Any micing on the piano is usually not done well, and unfortunately Jack's ride cymbals are competing with the same frequencies that Keith is playing in his right hand improvisations. Gary's bass often sounds great, but also often sounds boomy, or muddy. Part of this sound problem is the room or hall in which they perform, and the lack of adequate public address sound reinforcement used. His studio recordings and his live concert recordings, when miced well and mixed well, usually sound very good, however despite the reputation of his sound/recording engineer Manfred Eicher, I have never liked the fact that Jack's ride cymbals have competed with the frequencies of the treble section of the piano. The piano in this recording at the 2013 Venice, Italy Jazz Festival appears to be a Bosendorfer concert grand. I'm surprised they didn't use an Italian Fazioli? Fortunately, Keith played a Steinway model "D" concert grand piano in perfect tune in his more recent career. Any of the top level pianos will do fine, however the tuning is the key to the sound. The tuner is present during his performances and during intermission the tuner will retouch the tuning if needed. This has been a great step forward in recording piano trios in concert, and especially in nightclubs, since often in past recordings, pianos were grossly out of tune, even when making a record to be sold to the public. So many of Bill Evans and Oscar Peterson and early Keith Jarrett recordings were not well--produced in the past because of inadequate sound engineering and poor or missing piano tuning.
Surprisingly, this performance did not impress. Technique - yes, but the very idea of this melody, sad and thoughtful, is gone. The mood is completely lost. I did not expect such approach to this jewel from Keith. It's a pity.
I agree, however since I have listened to Keith's playing for decades, I have noticed that he plays tunes in many different ways, based on his mood at the time. The version of Autumn Leaves in this video is very "straight ahead" not really artistically arranged, with no sentimental piano intro. His harmonies are quite standard here, and his right hand improvisation is that of a typical swing tune approach. Since Autumn Leaves is more than a "standard" ..it has become a cliche tune that intermediate jazz students play....perhaps Keith has played this so many thousands of times over the course of his life, he just decided to play it as a rather straight swing tune, in a manner similar to that of any decent local and unknown jazz pianist would. When I first listened to this video I thought it was not Keith playing. I fact, I thought it sounded more like me playing, the way I used to play Autumn Leaves. But once he got into the tune, I could tell it was Keith, and I finally recognized him in this amateur video. I've also heard Keith play some very very simple blues tunes, using major and minor triad "church" chords, totally unlike his characteristic beautiful harmonies and imaginative improvisations. It is really difficult to do this, because once you have graduated beyond simple elementary piano playing and have risen to the high level of artistry that Keith Jarrett has, it is very difficult to go back to playing like a beginner or intermediate piano player. Yet, I have heard him do it in live performances. I think that Keith has been able to play just about anything he wanted to in any manner he felt at the time. He never got stuck in any particular piano sound or style, even though his signature style of beautiful harmonies and dazzling improvisations are his recognizable sound. In many ways he has been many pianists rolled up into a single artist.
@@jennifer86010 You did a great job of explaining why this performance was a kind of failure. But this does not change anything in essence: it was unsuccessful. Your explanation sounds exactly like a sportscaster's explanation of why a famous figure skater failed on quadruple jump. In training, everything turned out great, and at the previous competitions he used to do it cleanly, but this time he went into the jump incorrectly and didn’t group his body in the air like it’s supposed to be. But this explanation does not change either the result or the impression of the performance as a whole. The performance we are talking about lacked the main factor - inspiration! I am not a musician. I am a LISTENER. I don't know all the subtleties of the TECHNIQUE of the piano play. My main criterion is this: does a given performance of a given piece by a given musician resonate in my soul or not? And in our case, my answer is: definitely NOT! P. S. There is a wonderful formula: If it needs to be explained, then you don't need to explain. It is perfectly fit for this performance.
The Master! he makes all the 12 notes :blue , and no words to explain his fabulous swing !Nobody can make the piano speak ! the instrument is alive ! IN CRE DI BLE pianiste ! it's been 30 years that i listen Keith Jarrett and many great pianiste and i still can't believe the level of beauty , this pianist brings his music ! Bravo !
Amazing piano playing
The greatest, he has influenced my music so much , especially building bridges between Classical Music and Jazz.
I was there!!
I would like to THANK the person who decided to put the professionally recorded version on for those who have to pay in order to listen to the great performance at the Blue Note. May you grow deaf when any Keith Jarrett comes on!
Orgullosamente mexicano, el mejor Secretario de Estado.
This is great. You should also listen to the "Live at the Blue Note" version--26 minutes of amazing music...
Thoroughly original lyrical moving solo by the master Keith
good job
0:56
Waw great, i didnt know he was still playing in 2013, when was his last trio performance ?
November 30, 2014
@@moritzschutz5561 thank you !
2:18
i think this play sounds like coarse,keith's lack of funkness and jack too loud and with gary i cannot catch what he plays.
i think this video is bootleg level and low resolution.
so members do not mind,ok
ok, now... try again but perhaps contributing with something positive?
@@habbi1974 now i try to listen i hear wider than before.
sorry if i written hurt
Surprisingly, this performance did not impress. Technique - yes, but the very idea of this melody, sad and thoughtful, is gone. The mood is completely lost. I did not expect such approach to this jewel from Keith. It's a pity.
I agree that this amateur video, taken by an audience member, using consumer-grade non-professional equipment does not present very well, however once you get beyond this fact, you have to strain your ear to listen, and it is worth it. Keith is playing this great standard in a very straight-ahead swing way, not his usual artistic way, but he and his trio
are having fun with the tune, and the overall feel is good. Speaking of Jack being too loud and Gary hard to hear, I have discovered over the years of attending Keith's live performances that I've had the same problem when listening to this trio in person.
Any micing on the piano is usually not done well, and unfortunately Jack's ride cymbals are competing with the same frequencies that Keith is playing in his right hand improvisations. Gary's bass often sounds great, but also often sounds boomy, or muddy. Part of this sound problem is the room or hall in which they perform, and the lack of adequate public address sound reinforcement used.
His studio recordings and his live concert recordings, when miced well and mixed well, usually sound very good, however despite the reputation of his sound/recording engineer Manfred Eicher, I have never liked the fact that Jack's ride cymbals have competed with the frequencies of the treble section of the piano.
The piano in this recording at the 2013 Venice, Italy Jazz Festival appears to be a Bosendorfer concert grand. I'm surprised they didn't use an Italian Fazioli? Fortunately, Keith played a Steinway model "D" concert grand piano in perfect tune in his more recent career. Any of the top level pianos will do fine, however the tuning is the key to the sound. The tuner is present during his performances and during intermission the tuner will retouch the tuning if needed. This has been a great step forward in recording piano trios in concert, and especially in nightclubs, since often in past recordings, pianos were grossly out of tune, even when making a record to be sold to the public.
So many of Bill Evans and Oscar Peterson and early Keith Jarrett recordings were not well--produced in the past because of inadequate sound engineering and poor or missing piano tuning.
Surprisingly, this performance did not impress. Technique - yes, but the very idea of this melody, sad and thoughtful, is gone. The mood is completely lost. I did not expect such approach to this jewel from Keith. It's a pity.
I agree, however since I have listened to Keith's playing for decades, I have noticed that he plays tunes in many different ways, based on his mood at the time. The version of Autumn Leaves in this video is very "straight ahead" not really artistically arranged, with no sentimental piano intro. His harmonies are quite standard here, and his right hand
improvisation is that of a typical swing tune approach. Since Autumn Leaves is more than a "standard" ..it has become a cliche tune that intermediate jazz students play....perhaps Keith has played this so many thousands of times over the course of his life, he just decided to play it as a rather straight swing tune, in a manner similar to that of any decent local and unknown jazz pianist would.
When I first listened to this video I thought it was not Keith playing. I fact, I thought it sounded more like me playing, the way I used to play Autumn Leaves. But once he got into the tune, I could tell it was Keith, and I finally recognized him in this amateur video. I've also heard Keith play some very very simple blues tunes, using major and minor triad "church" chords, totally unlike his characteristic beautiful harmonies and imaginative improvisations.
It is really difficult to do this, because once you have graduated beyond simple elementary piano playing and have risen to the high level of artistry that Keith Jarrett has, it is very difficult to go back to playing like a beginner or intermediate piano player. Yet, I have heard him do it in live performances.
I think that Keith has been able to play just about anything he wanted to in any manner he felt at the time. He never got stuck in any particular piano sound or style, even though his signature style of beautiful harmonies and dazzling improvisations are his recognizable sound. In many ways he has been many pianists rolled up into a single artist.
@@jennifer86010 You did a great job of explaining why this performance was a kind of failure. But this does not change anything in essence: it was unsuccessful. Your explanation sounds exactly like a sportscaster's explanation of why a famous figure skater failed on quadruple jump. In training, everything turned out great, and at the previous competitions he used to do it cleanly, but this time he went into the jump incorrectly and didn’t group his body in the air like it’s supposed to be. But this explanation does not change either the result or the impression of the performance as a whole. The performance we are talking about lacked the main factor - inspiration! I am not a musician. I am a LISTENER. I don't know all the subtleties of the TECHNIQUE of the piano play. My main criterion is this: does a given performance of a given piece by a given musician resonate in my soul or not? And in our case, my answer is: definitely NOT! P. S. There is a wonderful formula: If it needs to be explained, then you don't need to explain. It is perfectly fit for this performance.
3:33