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Verkäufer: endrucomics (8,292) 100%, Artikelstandort: Bologna, Versand nach: Worldwide, Artikelnummer: 370365522462 PREMESSA: LA SUPERIORITA' DELLA MUSICA SU VINILE E' ANCOR OGGI SANCITA, NOTORIA ED EVIDENTE. NON TANTO DA UN PUNTO DI VISTA DI RESA, QUALITA' E PULIZIA DEL SUONO, TANTOMENO DA QUELLO DEL RIMPIANTO RETROSPETTIVO E NOSTALGICO , MA SOPRATTUTTO DA QUELLO PIU' PALPABILE ED INOPPUGNABILE DELL' ESSENZA, DELL' ANIMA E DELLA SUBLIMAZIONE CREATIVA. IL DISCO IN VINILE HA PULSAZIONE ARTISTICA, PASSIONE ARMONICA E SPLENDORE GRAFICO , E' PIACEVOLE DA OSSERVARE E DA TENERE IN MANO, RISPLENDE, PROFUMA E VIBRA DI VITA, DI EMOZIONE E DI SENSIBILITA'. E' TUTTO QUELLO CHE NON E' E NON POTRA' MAI ESSERE IL CD, CHE AL CONTRARIO E' SOLO UN OGGETTO MERAMENTE COMMERCIALE, POVERO, ARIDO, CINICO, STERILE ED ORWELLIANO, UNA DEGENERAZIONE INDUSTRIALE SCHIZOFRENICA E NECROFILA, LA DESOLANTE SOLUZIONE FINALE DELL' AVIDITA' DEL MERCATO E DELL' ARROGANZA DEI DISCOGRAFICI . KEITH JARRETT PIANO facing you Disco LP 33 giri , 1972, ECM Records , ECM 1017 ST , germany OTTIME CONDIZIONI, vinyl ex++/NM, cover ex++. Keith Jarrett (Allentown, 8 maggio 1945) è un pianista, clavicembalista e compositore statunitense. La sua carriera inizia con Art Blakey, Charles Lloyd e Miles Davis. Fin dai primi anni settanta riscuote grande successo nel jazz e nella musica classica, come capo formazione e come solista. La sua tecnica d’improvvisazione pianistica abbraccia, oltre al jazz, diversi generi musicali: in particolare, musica classica, gospel, blues e musica etnica. Facing You is the first album released on ECM by jazz pianist Keith Jarrett. It features Jarrett performing eight solo piano pieces recorded in the studio. Interprete: Keith Jarrett Etichetta: ECM-Records Catalogo: ECM 1017 ST Data di pubblicazione: 1972 Supporto:vinile 33 giriTipo audio: stereoDimensioni: 30 cm.Facciate: 2Laminated sleeve / copertina laminata, green label, white paper inner sleeve Track Listing side 1 "In Front" - 10:07"Ritooria" - 5:50"Lalene" - 8:30 side 2 "My Lady, My Child" - 7:20"Landscape for Future Earth" - 3:30"Starbright" - 5:03"Vapallia" - 3:51"Semblence" - 3:00 All compositions by Keith Jarrett Recorded at the Arne Bendiksen Studio, Oslo, 10th November 1971. Personnel Keith Jarrett – pianoFacing You is one of the most important recordings in contemporary jazz for several reasons, aside from being beautifully conceived and executed by pianist Keith Jarrett. It is a hallmark recording of solo piano in any discipline, a signature piece in the early ECM label discography, a distinct departure from mainstream jazz, a breakthrough for Jarrett, and a studio prelude for his most famous solo project to follow, The Köln Concert. Often meditative, richly melodic, inventive, and introspective beyond compare, Jarrett expresses his soul in tailored tones that set standards for not only this kind of jazz, but music that would serve him and his fans in good stead onward. In this program of all originals, which sound spontaneously improvised with certain pretexts and motifs as springboards, the rhapsodic "Ritooria," 4/4 love/spirit song "Lalene," and song for family and life "My Lady; My Child" firmly establish Jarrett's heartfelt and thoughtful approach. "Vapallia" cements the thematic, seemingly effortless, lighter -- but never tame -- aesthetic. "Starbright" is an easy-paced two-step tune signifying fully Jarrett's personalized stance. Straddling a more jagged, angular, and free edge, the pianist evokes the influence of Paul Bley during "Semblence" (sic). But it is the opening selection, an extended ten-minute opus titled "In Front," that truly showcases Jarrett at his playful best -- a timeless, modal, direct, and bright delight. A remarkable effort that reveals more and more with each listen, this recording has stood the test of time, and is unquestionably a Top Three recording in Keith Jarrett's long and storied career. Se questo disco è entrato nella storia lo si deve, oltre alla bravura del musicista, al coraggio del produttore di Monaco, Manfred Eicher, che ingordo di nuove frontiere musicali scrive a Jarrett nel ‘70 per invitarlo a collaborare con l’ECM. Al momento del contatto l’ECM ha in catalogo un solo disco, Afric Pepperbird, di Garbareck, ed alcuni nastri di improvvisazioni al piano di Cick Corea, ma questo basta per far capire a Jarrett che con Manfred Eicher le cose si svolgono con il massimo della professionalità, cosa sempre pretesa da Keith Jarrett. Jarrett si reca ad Oslo, sede della registrazione, con alcune idee in testa che sviluppa in seguito quando si trova di fronte allo strumento. La seduta, della durata di quattro ore, produce ben otto brani usati per il disco in questione ed un nono pezzo, Counterphonymic, usato in un secondo momento dall’ECM per un album antologico. Per togliere ogni dubbio sulle sue radici jazzistiche, Keith sfodera un meraviglioso brano dal titolo Starbright che iniziando in modo molto tranquillo prosegue in maniera sostenuta per tornare, nel finale, all’esecuzione tranquilla. In quest’esecuzione Jarrett è paragonato dal critico musicale Jan Carr al grande virtuoso Art Tatum se non addirittura superandolo in difficoltà di esecuzione. In quest’album, Jarrett, affronta vari stili musicali che poi faranno da cornice ai successivi lavori per piano solo, come il blues, il gospel, il boogie woogie ed il country per quanto riguarda la parte più americana delle sue esecuzioni, e la malinconia romantica della tradizione classica europea per quanto riguarda il vecchio continente. My Lady: My Child è un brano inequivocabilmente dedicato alla moglie Margot ed al figlio Gabriel nato due mesi prima della registrazione. FACING YOU è accolto dalla critica americana europea e canadese con gran consenso tanto da vincere il Gran premio del festival di Montreux 1973 e far scrivere al critico Alan Offstein nella rivista Coda: “questa naturalezza rappresenta il segreto dell’interesse universale che caratterizza la musica di Jarrett ed è la ragione per cui FACING YOU è un classico, l’ultima conquista dell’artista che, dopo anni di ricerca, ha trovato se stesso”. Ai tempi di questa incisione (Novembre '71), prevaleva tra i musicisti l'utilizzo dei nuovi suoni "elettrici" su quelli "acustici" e non erano ancora molti i pianisti moderni ad aver già proposto opere in solo (mi vengono in mente solo Dollar Brand e Chick Corea con le "Piano Improvisations") di nuova concezione e totalmente improvvisate, anche se in parecchi si apprestavano a farlo (ad esempio, Paul Bley con "Open to love" e "Alone again", Cecil Taylor con "Spring of two blue J's", "Indent" e "Silent Tongues"). Presto questa sarebbe esplosa come una delle tante mode dell'epoca, forse proprio a causa di Jarrett e di quest'incisione. E' incredibile constatare come un'opera così libera e ben concepita risulti essere stata registrata solo in tre ore da Jarrett, negli studi di Oslo della ECM, in un giorno libero concesso durante lo svolgimento della tournée europea del Miles Davis Group, di cui Jarrett faceva parte in quel periodo. In un contesto generale ricettivo della cultura pianistica occidentale, soprattutto del tardo romanticismo e impressionismo a cavallo tra '800 e '900, Jarrett si rende protagonista di una fulminante sintesi di tutto il pianismo jazz evolutosi sino a quel momento. L'ascolto di "In front" (), in particolare, meglio di ogni altro brano conferma questo concetto. In poco più di dieci minuti di musica, Jarrett sintetizza, in modo molto originale, tutti gli elementi portanti della storia del piano jazz, dal ragtime al pop-rock, allora di moda, passando attraverso boogie woogie, gospel-soul, rhythm&blues e la tradizione pianistica classica europea. Jarrett riesce qui oltretutto a dar giusta forma a un così vasto e impegnativo contenuto musicale, il tutto condito con tecnica prodigiosa e tocco purissimo: un capolavoro. "Ritooria" () e "Lalene" () sono invece due ottimi brani esplicativi dei due lati in qualche modo opposti della sua estetica pianistica, ampiamente sviluppati poi nei suoi successivi e colossali concerti "live" in piano solo. Il primo ci rivela l'aspetto più positivamente accademico della sua musica, il secondo quello più solare e melodico, di estrazione popolare e più legato alla musica pop americana, per l'appunto. Tra gli altri brani del disco, tutti di impegnativo ascolto, si distinguono inoltre sue notevoli composizioni come "Starbright" () e l'intimista "My lady; my child" (), di chiara dedica familiare. Si tratta in definitiva di un disco meno celebrato e, forse, emotivamente meno coinvolgente del più noto e venduto "Koln concert", ma anche di significato storico e valenza artistica nettamente superiore. Riccardo Facchi Biografia Nato da una famiglia multietnica, originaria dell'Ungheria, Keith è il maggiore di cinque fratelli. In famiglia, sin da piccolo, respira aria di musica. La nonna paterna suona il pianoforte ed una zia lo insegna, mentre il padre, che a causa della Grande Depressione non è riuscito ad avere una buona educazione musicale, è ugualmente un grande appassionato. La madre, dal canto suo, fin da piccola ha studiato musica ed ha avuto modo di cantare in alcune orchestrine locali. Keith Jarrett inizia a prendere lezioni di pianoforte all'età di tre anni, svolgendo studi classici e venendo incluso in varie esibizioni all'Academy of Music di Philadelphia e al Madison Square Garden. e si esibisce nel primo concerto a nove. Dai dodici anni in poi suona come professionista e dai quindici intraprende studi di composizione. Entra dunque al Berklee di Boston ed ottiene una borsa di studio per studiare alla prestigiosa cattedra di Nadia Boulanger a Parigi (la stessa cui si rivolse anche Astor Piazzolla), ma, declina cortesemente e si trasferisce a New York nel 1964, esibendosi al Village Vanguard. Suona con il clarinettista Tony Scott, che aveva suonato anche con Billie Holiday. Successivamente Jarrett è con Art Blakey nei Jazz Messengers. Fra i messaggeri Jarrett coltivò quel gusto per il gospel e il blues che non lo abbandonò mai più. Era il dicembre 1965 e Jarrett aveva 20 anni. Tre mesi dopo lo si ascolta nel quartetto di Charles Lloyd, un gruppo importante, che raccolse molti consensi, e in cui Jarrett incontrò un batterista, anch'egli giovanissimo, destinato ad incrociarsi con la sua carriera, Jack DeJohnette. Jarrett in quel quartetto matura, tanto da decidere di lasciare Lloyd e di fondare il suo trio con Charlie Haden, icona del contrabbasso free, e Paul Motian, batterista passato per il trio di Bill Evans. Il primo album che vede Jarrett nel ruolo di leader, Life Between the Exit Signs (1967), viene pubblicato in questo periodo dall’etichetta Vortex, seguito da Restoration Ruin (1968). Un altro album, Somewhere Before, venne pubblicato nel 1968 per l’etichetta Atlantic. Suonò spesso il sassofono e vari tipi di percussioni nel Quartetto Americano, ma a partire dallo scioglimento del gruppo non suonò spesso strumenti diversi dal pianoforte acustico. Nella maggioranza degli album degli ultimi venti anni ha suonato solo il piano acustico. Jarrett ha sofferto di quella che venne diagnosticata come una sindrome da fatica cronica alla fine degli anni novanta, e fu costretto al confino nella sua casa per lunghi periodi di tempo. Grazie a questo isolamento, ha compiuto buoni progressi verso una completa guarigione ed ha registrato un nuovo album The Melody at Night, With You, originariamente ideato come regalo di Natale per la moglie. Contrariamente alle sue precedenti modalità di lavoro, in questo album suona il piano da solo, non con pezzi classici o completamente improvvisati, ma piuttosto con vecchie canzoni e standard. Nel 2004 Jarrett ha vinto il premio musicale Léonie Sonning, normalmente associato a musicisti di musica classica e a compositori, che in precedenza è stato assegnato ad un solo musicista jazz, Miles Davis. La prima persona a ricevere tale premio fu, nel 1959, Igor Stravinskij. Vive a Union, New Jersey. La musica Miles Davis Miles Davis Quando il quartetto di Charles Lloyd si sciolse, a Jarrett fu proposto di entrare a far parte del gruppo di Miles Davis, dopo che Davis ebbe ascoltato Jarrett in un club di New York. Durante la militanza nel gruppo di Davis, Jarrett suonò il piano elettrico e l’organo elettrico, in alternanza con Chick Corea; dopo l’uscita di scena di Corea, suonò entrambi gli strumenti contemporaneamente. A dispetto dell’antipatia di Jarrett per la musica elettronica e gli strumenti elettronici, egli volle rimanere per la stima che nutriva per Davis e per la volontà di lavorare con DeJohnette. Jarrett suona in tre album di Davis: Miles Davis at Fillmore: Live at the Fillmore East, The Cellar Door Sessions (registrato il 16-19 dicembre 1970 in un club a Washington, D.C.) e Live-Evil, composto per lo più da registrazioni rimaneggiate di The Cellar Door Sessions. Inoltre suona l’organo elettrico in Get Up With It; il brano in cui suona, Honky Tonk, è una variante di una traccia presente in The Complete Jack Johnson Sessions. Quartetti del 1970 Dal 1971 al 1976 Jarrett aggiunse il sassofonista Dewey Redman al preesistente trio con Haden e Motian. Il Quartetto Americano venne spesso integrato con un percussionista addizionale, come Danny Johnson, Guilherme Franco, Airto Moreira e, sporadicamente, il chitarrista Sam Brown. I componenti si prestano a suonare una varietà di strumenti: spesso si può ascoltare Jarrett al sax soprano o alle percussioni, Redman alla musette e Motian e Haden su diverse tipologie di percussioni. Haden produce una varietà di suoni pizzicati e percussivi con il basso acustico, anche filtrandolo con il wah-wah nella traccia Mortgage On My Soul dell’album Birth. Il gruppo pubblicò per le etichette Atlantic Records, Columbia Records, Impulse! Records and ECM. Gli ultimi due album, entrambi pubblicati per l’Impulse!, mettono in risalto principalmente le composizioni degli altri membri della band, al contrario degli altri album, in cui prevalgono le composizioni di Jarrett. Le composizioni di Jarrett conferiscono a questo gruppo un’impronta sonora ben definita. La loro musica è una coinvolgente amalgama di free jazz, post bop, gospel e improvvisazioni di carattere mediorientale. Negli ultimi anni settanta, in concomitanza al Quartetto Americano, Jarrett guidò il Quartetto Europeo, che pubblicò per l’ECM, composto dal sassofonista Jan Garbarek, dal bassista Palle Danielsson e dal batterista Jon Christensen. Lo stile di questa formazione è simile a quello del Quartetto Americano, ma molte delle peculiarità d’avanguardia e Americana sono sostituite dalle influenze della tradizione musicale europea che caratterizzano gli artisti ECM di ogni epoca. Solo piano Un pianoforte della Steinway & Sons, simile a quello utilizzato da Jarrett nella maggior parte dei suoi concerti. Il primo album di Jarrett per l’ECM, Facing you, è di solo piano, registrato in studio. Altri dischi vennero registrati con la stessa modalità nella sua carriera, inclusi The Köln Concert (1975), Sun Bear Concerts (1976), Staircase (1976), The Moth and the Flame (1981), Vienna Concert (1991) e The Melody At Night, With You (1999). Book of Ways (1986) è una registrazione studio di clavicordo solo. Gli album in studio sono stati accolti con discreto successo, ma a partire dal 1973 Jarrett si esibì in concerti completamente improvvisati, le cui registrazioni lo hanno reso uno degli artisti jazz di maggior successo commerciale. Jarrett ha argomentato che le sue migliori esibizioni si sono originate nelle occasioni in cui partiva privo di preconcetti su cosa stava per suonare. Un altro dei suoi concerti in piano solo, Dark Intervals (1987, Tokyo), non ha la forma di un’improvvisazione libera, a motivo della brevità dei pezzi. Si può considerare una suite di brevi composizioni, sebbene ciascuna di esse sia rigorosamente improvvisata. Inoltre, manca quella componente jazz che pervade gli altri concerti. Nel 1990, da una sua esibizione parigina, viene tratto l'album Paris Concert. Dal 2000 ha ripreso ad esibirsi, da solo o con lo Standards Trio. Radiance (2002) riporta la registrazione di un concerto ad Osaka ed estratti di un concerto a Tokyo, pubblicato in versione integrale nel DVD Tokyo Solo (2006). A differenza degli altri concerti, in cui l’improvvisazione si sviluppava ininterrotta per 30-40 minuti, i concerti del 2002 consistono di una serie di brevi improvvisazioni (alcune della durata di un minuto e mezzo, altre di quindici o venti minuti). Nel settembre 2005 alla Carnegie Hall Jarrett si è esibito nel primo concerto di solo piano in Nord America dopo circa dieci anni, pubblicato l’anno successivo in un doppio album, The Carnegie Hall Concert. Trio Standards Jack DeJohnette. Nel 1983 nasce il cosiddetto Trio Standards, ovvero l'incontro di Jarrett con il contrabbassista Gary Peacock (coinvolto in mille avventure del jazz più creativo e meno conservatore, da Bill Evans a Don Cherry, da Steve Lacy a Paul Bley) e con DeJohnette. In quell’anno Jarrett propone al bassista Gary Peacock e al batterista Jack DeJohnette di registrare un album di standard jazz, intitolato semplicemente Standards, Volume 1. Fanno seguito immediatamente Standards, Volume 2 e Changes, registrati nella medesima sessione. Il successo di questi album e il conseguente tour del gruppo consacrarono questo nuovo Standards Trio nella rosa delle formazioni jazz storiche. Il trio ha registrato numerosi album live e studio, nei quali rivisitano pezzi del repertorio jazz. Citano Ahmad Jamal come principale ispiratore, per il suo uso di linee melodiche e multitonali. Il trio ha anche pubblicato rielaborazioni di materiale originale. Ne è un esempio l’album Changeless (1987). Alcuni degli album di standard contengono tracce originali, attribuite a Jarrett ma consistenti in improvvisazioni del gruppo. Gli album live Inside Out (2001) e Always Let Me Go (2001) segnalarono un rinnovato interesse del trio per l’improvvisazione assoluta. Da citare l’album At the Deer Head Inn (1992), un album live di standard, con Paul Motian in sostituzione di DeJohnette, registrato nel locale in cui Jarrett ebbe il primo ingaggio. Per la prima volta dai tempi del Quartetto Americano Jarrett e Motian suonano insieme e si rincontrano il batterista e il bassista che hanno collaborato nell’album Trio 64 (1963), di Bill Evans. Musica classica Sin dai primi anni settanta Jarrett si dedica alla musica classica, registrando esclusivamente per l’ECM. Da ricordare: In The Light (1973). Collabora il chitarrista Ralph Towner. Si compone di pezzi brevi per solo piano, strumenti a corda e varie combinazioni di strumenti da camera, inclusi un quartetto di corde, un quintetto di ottoni e una composizione per violoncello e tromboni. Questa collezione testimonia l’interesse del giovane compositore per una serie di stili classici, con differenti risultati espressivi.Luminessence (1974) ed Arbour Zena (1975), entrambi alternano frammenti composti per strumenti a corda ad improvvisazioni di musicisti jazz, tra cui Jan Garbarek e Charlie Haden. I cordofoni hanno un suono struggente, contemplativo, tipico dello “stile ECM” degli anni ’70, corroborato dalle appassionate improvvisazioni del sassofono di Garbarek. Sebbene molti appassionati di musica classica considerino questi due album poco rappresentativi, va tenuto presente che l’impegno di Jarrett era volto a creare una fusione tra musica scritta e improvvisata, piuttosto che a scrivere musica prettamente classica. I suoi lavori successivi abbandoneranno alcuni sperimentalismi.Ritual (1977- registrato da Dennis Russell Davies, risente delle improvvisazioni di Jarrett)The Celestial Hawk (1980) è una composizione per orchestra, percussioni e piano. Eseguito dalla Syracuse Symphony Orchestra, direttore Christopher Keene, Jarrett al pianoforte. Il maggior contributo di Jarrett come compositore classico.Bridge of Light (1993) l’ultimo album di composizioni classiche di Jarrett. L’album contiene tre pezzi per solista e orchestra e uno per violino e piano, composti dal 1984 al 1990. Johann Sebastian Bach: Jarrett ha pubblicato vari album in cui esegue sue composizioni. Nel 1995 l’etichetta Music Masters Jazz pubblicò un CD nel quale Jarrett suona la parte di piano solo in Lousadzak, un concerto di pianoforte del compositore americano Alan Hovhaness. Conduce Dennis Russell Davies. Oltre al suo lavoro di compositore classico, Jarrett ha anche pubblicato album di musica classica per la collana New series della ECM. Tra i più importanti: Arvo Pärt, Fratres dall’album Tabula Rasa con Gidon Kremer (1984)Johann Sebastian Bach, Das Wohltemperierte Klavier, Book 1 (1987)Johann Sebastian Bach, Goldberg Variations (1989)Johann Sebastian Bach, Das Wohltemperierte Klavier, Book 2 (1990)Georg Friedrich Händel, Six Sonatas for Recorder and Harpsichord (1990)Dmitri Shostakovich, 24 Preludes and Fugues (1991)Johann Sebastian Bach, 3 Sonaten für Viola da Gamba und Cembalo (1991)Johann Sebastian Bach, The French Suites (1991)Georg Friedrich Händel, Suites for Keyboard (1995)Wolfgang Amadeus Mozart, Piano Concertos, Masonic Funeral Music and Symphony in G Minor (1994)Wolfgang Amadeus Mozart, Piano Concertos and Adagio and Fugue (1996) Altre opere Tra le altre opere di Jarrett, ci sono Gary Burton & Keith Jarrett del 1971 – Burton viene citato per primo, ma tutte le composizioni meno una sono di Jarrett. Jarrett suona anche il piano elettrico), Ruta & Daitya del 1972 in cui dopo aver condiviso l’esperienza con Davis, Jarrett e DeJohnette registrano questo album di duetti. Oltre al pianoforte acustico, Jarrett suona il piano elettrico e l’organo elettrico, l’unica volta in cui utilizza questi strumenti in un album dell’ECM), Hymns/Spheres del 1976 (improvvisazioni sull’organo del diciottesimo secolo dell’abbazia benedettina di Ottobeuren), Invocations/The Moth and the Flame del 1981, registrazione dello stesso organo di Hymns/Spheres dove Jarrett improvvisa al sassofono all’interno dell’abbazia, estremamente risonante; Spirits (1986) in cui Jarrett suona diversi tipi di fiati e Spheres del 1986, edizione digitale e ridotta di Hymns/Spheres. Tra gli altri album della carriera di Jarrett ci sono Foundations (2 CD – le prime esibizioni, dai Jazz Messengers, passando per Charles Lloyd fino al trio con Haden e Motian), The Impulse Years, 1973-1974, gli album Fort Yawuh, Treasure Island, Death and the Flower e Backhand, Mysteries: The Impulse Years, 1975-1976, gli album Shades, Mysteries, Byablue e Bop-Be, Silence (1977), rimasterizzazione digitale di Byablue e Bop-Be, salvo l’omissione di tre tracce, Works, compilation edita dall’ECM, copre gli anni 1972 – 1981; :rarum (2 CD, ECM – brani selezionati da Jarrett, con lo scopo dichiarato di mettere in evidenza album (Spirits, Book of Ways, le improvvisazioni di organo) a suo parere trascurati, rispetto ai celebri lavori con il Quartetto Europeo, il Trio standard, e i concerti di solo piano. Dopo aver lasciato Davis, Jarrett non farà spesso da sideman, tuttavia compare in album di altri artisti, tra cui: Paul Motian: Conception Vessel (1972), Airto: Free (1972), Freddie Hubbard: Sky Dive (1972), Kenny Wheeler: Gnu High (1975), Charlie Haden: Closeness (1976), e con il fratello Scott Jarrett, anch'egli pianista, in Without Rhyme or Reason. Controversie Keith Jarrett è diventato famoso anche per i suoi comportamenti sul palco durante i concerti. In più di un'occasione, durante diversi concerti, ha chiesto al suo pubblico il più assoluto silenzio, anche con un certo nervosismo e ha dichiarato di mal sopportare il fumo ed il rumore durante l'esecuzione dei brani, così come colpi di tosse ed applausi troppo vigorosi mentre il concerto non è terminato. Riguardo a queste intemperanze, Jarrett ha dichiarato che non è sua intenzione maltrattare il pubblico, che anzi considera parte integrante delle sue esibizioni e che le sue esternazioni di malumore e nervosismo sono dovute al fatto che troppe distrazioni causano la perdita della melodia che ha in testa. Altre polemiche sono derivate dal suo modo di suonare durante le improvvisazioni, muovendosi sul piano, quasi amoreggiandoci, ma Jarrett ha dichiarato che il suo rapporto con il pianoforte è «fisico», che i suoi movimenti sono involontari e che gli hanno anche causato dolori alla spalla e alle braccia. Keith Jarrett (born May 8, 1945, in Allentown, Pennsylvania) is an American jazz and classical pianist and composer. Jarrett started his career with Art Blakey, moving on to play with Charles Lloyd and Miles Davis. Since the early 1970s he has enjoyed a great deal of success in both jazz and classical music, as a group leader and a solo performer. His improvisations draw not only from the traditions of jazz, but from other genres as well, especially Western classical music, gospel, blues, and ethnic folk music. In 2003, Jarrett received the Polar Music Prize, the first (and to this day only) recipient not to share the prize with a co-recipient, and in 2004 he received the Léonie Sonning Music Prize. In 2008, he was inducted into the Down Beat Hall of Fame by the Down Beat 73rd Annual Jazz Readers' Poll.Early years Jarrett, who is partly of Hungarian ancestry, grew up in suburban Allentown, Pennsylvania, with significant early exposure to music. He possessed absolute pitch, and he displayed prodigious musical talents as a young child. He began piano lessons just before his third birthday, and at age five he appeared on a TV talent program hosted by the swing bandleader Paul Whiteman. The young Jarrett gave his first formal piano recital at the age of seven, playing works by composers including Mozart, Bach, Beethoven, and Saint-Saëns, and ending with two of his own compositions. Encouraged especially by his mother, Jarrett took intensive classical piano lessons with a series of teachers. In his teens, as a student at Emmaus High School in Emmaus, Pennsylvania, he learned jazz and quickly became proficient in it. In his early teens, he developed a strong interest in the contemporary jazz scene; a Dave Brubeck performance was an early inspiration. At one point, he had an offer to study classical composition in Paris with the famed teacher Nadia Boulanger—an opportunity that pleased Jarrett's mother but that Jarrett, already leaning toward jazz, decided to turn down. Following his graduation from Emmaus High School in 1963, Jarrett moved from Allentown to Boston, Massachusetts, where he attended the Berklee College of Music and played cocktail piano in local clubs. After a year he moved to New York City, where he played at the Village Vanguard. In New York, Art Blakey hired Jarrett to play with the Jazz Messengers, and he subsequently became a member of the Charles Lloyd Quartet—a group that included Jack DeJohnette, who would become a frequent musical partner throughout Jarrett's career. The quartet's 1966 album Forest Flower was one of the most successful jazz recordings of the mid-1960s. Jarrett also started to record as a leader at this time, in a trio with Charlie Haden and Paul Motian. Jarrett's first album as a leader, Life Between the Exit Signs (1967), was released on the Vortex label, to be followed by Restoration Ruin (1968), which is easily the most bizarre entry in the Jarrett catalog. Not only does Jarrett barely touch the piano, but he plays all the other instruments on what is essentially a folk-rock album, and even sings. Another trio album with Haden and Motian, titled Somewhere Before, followed later in 1968, this one recorded live for Atlantic Records. Miles Davis This version of the Charles Lloyd Quartet came to an end in 1969 because of disputes over money as well as artistic differences. Jarrett was asked to join the Miles Davis group after Miles heard him in a New York City club. During his tenure with Davis, he played both Fender Contempo electronic organ and Fender Rhodes electric piano, alternating with Chick Corea; after Corea left in 1970, Jarrett often played the two simultaneously. Despite his dislike of amplified music and electric instruments, he continued with the group out of respect for Davis and because of his desire to work with Jack DeJohnette. Jarrett is heard on several Davis albums: Miles Davis at Fillmore: Live at the Fillmore East, The Cellar Door Sessions (recorded December 16–19, 1970, at the Cellar Door club in Washington, DC), and Live-Evil, which is largely composed of heavily edited Cellar Door recordings. The extended sessions from these recordings can be heard on The Complete Cellar Door Sessions. Jarrett also plays electric organ on Get Up With It; the song he is featured on, "Honky Tonk", is an abridged version of a track available in its entirety on The Complete Jack Johnson Sessions. In addition, part of a track called "Konda" (recorded May 21, 1970) was released during Davis's late-1970s retirement on a compilation album called Directions (1980). The track, which features an extended Fender-Rhodes piano introduction by Jarrett, was released in full on 2003's The Complete Jack Johnson Sessions. 1970s quartets From 1971 to 1976, Jarrett added saxophonist Dewey Redman to the existing trio with Haden and Motian. The so-called American quartet was often supplemented by an extra percussionist, such as Danny Johnson, Guilherme Franco, or Airto Moreira, and occasionally by guitarist Sam Brown. The quartet members played various instruments, with Jarrett often being heard on soprano saxophone and percussion as well as piano; Redman on musette, a Chinese double-reed instrument; and Motian and Haden on a variety of percussion. Haden also produced a variety of unusual plucked and percussive sounds with his acoustic bass, even running it through a wah-wah pedal for one track ("Mortgage on My Soul," on the album Birth). The group recorded two albums for Atlantic Records in 1971; El Juicio (The Judgement) and Birth one on Columbia Records; Expectations that included rock-influenced guitar by Sam Brown as well as string and brass arrangements, and for which his contract with Columbia was immediately terminated, seven albums on Impulse! Records, and two on the ECM label. The last two albums, both recorded for Impulse!, feature mainly the compositions of the other band members, as opposed to Jarrett's own, which dominated the previous albums. Jarrett's compositions and the strong musical identities of the group members gave this ensemble a very distinctive sound. The quartet's music is an amalgam of free jazz, straight-ahead post-bop, gospel music, and exotic, Middle-Eastern-sounding improvisations. In the mid- and late 1970s Jarrett led a "European quartet" concurrently with the American quartet, which was recorded by ECM. This combo consisted of saxophonist Jan Garbarek, bassist Palle Danielsson, and drummer Jon Christensen. This ensemble played in a style similar to that of the American quartet, but with many of the avant-garde and Americana elements replaced by the European folk influences that characterized the work of ECM artists at the time. Jarrett became involved in a legal wrangle following the release of the album Gaucho in 1980 by the U.S. rock band Steely Dan. The album's title track, credited to Donald Fagen and Walter Becker, bore an undeniable resemblance to Jarrett's "Long As You Know You're Living Yours," from the Belonging album. When a Musician magazine interviewer pointed out the similarity, Becker admitted that he loved the Jarrett composition and Fagen said they had been influenced by it. After their comments were published, Jarrett sued, and Becker and Fagen were forced to add his name to the credits and to include him in the royalties. Solo piano Jarrett's first album for ECM, Facing You (1971), was a solo piano date recorded in the studio. He has continued to record solo piano albums in the studio intermittently throughout his career, including Staircase (1976), The Moth and the Flame (1981), and The Melody at Night, With You (1999). Book of Ways (1986) is a studio recording of clavichord solos. The studio albums are modestly successful entries in the Jarrett catalog, but in 1973, Jarrett also began playing totally improvised solo concerts, and it is the popularity of these voluminous concert recordings that has made him one of the best-selling jazz artists in history. Albums released from these concerts include The Köln Concert (1975) which became the best selling piano recording in history; and Sun Bear Concerts (1976) - a 10-LP (and later 6-CD) Box Set. Jarrett has commented that his best performances have been when he has had only the slightest notion of what he was going to play at the next moment. An apocryphal account of one such performance had Jarrett staring at the piano for several minutes without playing; as the audience grew increasingly uncomfortable, one member shouted to Jarrett, "D sharp!", to which the pianist responded, "Thank you!", and launched into an improvisation. Jarrett's 100th solo performance in Japan was captured on video at Suntory Hall Tokyo on April 14, 1987, and released the same year. The recording was titled Solo Tribute. Another video recording, titled Last Solo, was released in 1987 from a live solo concert at Kan-i Hoken hall, Tokyo, Japan, recorded January 25, 1984. Both Solo Tribute and Last Solo were reissued on Image Entertainment DVD in 2002. Another of Jarrett's solo concerts, Dark Intervals (1987, Tokyo), had less of a free-form improvisation feel to it because of the brevity of the pieces. Sounding more like a set of short compositions, these pieces are nonetheless entirely improvised. In addition to the shorter form, they lack the jazzy feel associated with Jarrett's more typical solo concerts. In the late 1990s, Jarrett was diagnosed with chronic fatigue syndrome (CFS) and was unable to leave his home for long periods of time. It was during this period that he recorded The Melody at Night, with You, a solo piano effort consisting of jazz standards presented with very little of the reinterpretation he usually employs. The album had originally been a Christmas gift to his second wife, Rose Anne. By 2000, Jarrett had returned to touring, both solo and with the Standards Trio. Two 2002 solo concerts in Japan, Jarrett's first solo piano concerts following his illness, were released on the 2005 CD Radiance (a complete concert in Osaka, and excerpts from one in Tokyo), and the 2006 DVD Tokyo Solo (the entire Tokyo performance). In contrast with previous concerts (which were generally a pair of continuous improvisations 30–40 minutes long), the 2002 concerts consist of a linked series of shorter improvisations (some as short as a minute and a half, a few of fifteen or twenty minutes). In September 2005 at Carnegie Hall, Jarrett performed his first solo concert in North America in more than ten years, released a year later as a double-CD set (The Carnegie Hall Concert). On November 26, 2008, he performed solo in the Salle Pleyel in Paris, and a few days later, on December 1, at London's Royal Festival Hall, marking the first time Jarrett had played in London in seventeen years. These concerts were released in October 2009 on the album Paris / London: Testament. The Standards Trio In 1983, at the suggestion of ECM head Manfred Eicher, Jarrett asked bassist Gary Peacock and drummer Jack DeJohnette, with whom he had worked on Peacock's 1977 album Tales of Another, to record an album of jazz standards, simply titled Standards, Volume 1. Two more albums, Standards, Volume 2 and Changes, both recorded at the same session, followed soon after. The success of these albums and the group's ensuing tour, which came as traditional acoustic post-bop was enjoying an upswing in the early 1980s, led to this new Standards Trio becoming one of the premier working groups in jazz, and certainly one of the most enduring, continuing to record and tour for more than twenty-five years. The trio has recorded numerous live and studio albums consisting primarily of jazz repertory material. The trio members each cite Ahmad Jamal as a major influence in their musical development for his use of both melodic and multi-tonal lines. The Jarrett-Peacock-DeJohnette trio also produced recordings that consist largely of challenging original material, most notably 1987's Changeless. (These recordings are noted above.) Several of the standards albums contain an original track or two, some attributed to Jarrett but mostly group improvisations. The live recordings Inside Out and Always Let Me Go (both released in 2001) marked a renewed interest by the trio in wholly improvised free jazz. By this point in their history, the musical communication among these three men had become nothing short of telepathic, and their group improvisations frequently take on a complexity that sounds almost composed. The Standards Trio undertakes frequent world tours of recital halls (the only venues in which Jarrett, a notorious stickler for acoustics, will play these days) and is one of the few truly successful jazz groups to play both straight-ahead (as opposed to smooth) and free jazz. A related recording, At the Deer Head Inn (1992), is a live album of standards recorded with Paul Motian replacing DeJohnette, at the venue in Delaware Water Gap, Pennsylvania, 40 miles from Jarrett's hometown, where he had his first job as a jazz pianist. It was the first time Jarrett and Motian had played together since the demise of the American quartet sixteen years earlier. Classical music Since the early 1970s, Jarrett's success as a jazz musician has enabled him to maintain a parallel career as a classical composer and pianist, recording almost exclusively for ECM Records. In The Light, an album made in 1973, consists of short pieces for solo piano, strings, and various chamber ensembles, including a string quartet and a brass quintet, and a piece for cellos and trombones. This collection demonstrates a young composer's affinity for a variety of classical styles, with varying degrees of success. Luminessence (1974) and Arbour Zena (1975) both combine composed pieces for strings with improvising jazz musicians, including Jan Garbarek and Charlie Haden. The strings here have a moody, contemplative feel that is characteristic of the "ECM sound" of the 1970s, and is also particularly well-suited to Garbarek's keening saxophone improvisations. From an academic standpoint, these compositions are dismissed by many classical music aficionados as lightweight, but Jarrett appeared to be working more towards a synthesis between composed and improvised music at this time, rather than the production of formal classical works. From this point on, however, his classical work would adhere to more conventional disciplines. Ritual (1977) is a composed solo piano piece recorded by Dennis Russell Davies that is somewhat reminiscent of Jarrett's own solo piano recordings. The Celestial Hawk (1980) is a piece for orchestra, percussion, and piano that Jarrett performed and recorded with the Syracuse Symphony under Christopher Keene. This piece is the largest and longest of Jarrett's efforts as a classical composer. Bridge of Light (1993) is the last recording of classical compositions to appear under Jarrett's name. The album contains three pieces written for a soloist with orchestra, and one for violin and piano. The pieces date from 1984 and 1990. In 1988 New World Records released the CD Lou Harrison: Piano Concerto and Suite for Violin, Piano, and Small Orchestra, featuring Jarrett on piano, with Naoto Otomo conducting the piano concerto with the New Japan Philharmonic. Robert Hughes conducted the Suite for Violin, Piano, and Small Orchestra. In 1992 came the release of Jarrett's performance of Peggy Glanville-Hicks's Etruscan Concerto, with Dennis Russell Davies conducting the Brooklyn Philharmonic Orchestra. This was released on Music Masters Classics, with pieces by Lou Harrison and Terry Riley. In 1995 the record label Music Masters Jazz released a CD on which one track featured Jarrett performing the exquisite solo piano part in Lousadzak, a 17-minute piano concerto by American composer Alan Hovhaness. The conductor again was Dennis Russell Davies. Most of Jarrett's classical recordings are of older repertoire, but Jarrett may have been introduced to this modern work by his one-time manager George Avakian, who was a friend of the composer. In addition to his classical work as a composer, Jarrett has also performed and recorded classical music for ECM New Series since the mid-1980s, including the following: In 2004, Jarrett was awarded the Léonie Sonning Music Prize. The prestigious award usually associated with classical musicians and composers has only previously been given to one other jazz musician—Miles Davis. The first person to receive the award was Igor Stravinsky, in 1959. Other works Jarrett also plays harpsichord, clavichord, organ, soprano saxophone, drums, and many other instruments. He often played saxophone and various forms of percussion in the American quartet, though his recordings since the breakup of that group have rarely featured these instruments. On the majority of his recordings in the last twenty years, he has played acoustic piano only. He has spoken with some regret of his decision to give up playing the saxophone, in particular. On April 15, 1978, Jarrett was the musical guest on Saturday Night Live. His music has also been used on many television shows, including The Sopranos on HBO. The 2001 German film Bella Martha (English title: Mostly Martha), whose music consultant was ECM founder and head Manfred Eicher, features Jarrett's "Country," from the 1974 European quartet album Belonging. Idiosyncrasies One of Jarrett's trademarks is his frequent, highly audible vocalization (grunting, groaning, and tuneless singing), similar to that of Glenn Gould, Thelonious Monk, Erroll Garner, Oscar Peterson, Ralph Sutton, Willie "The Lion" Smith, Paul Asaro, and Cecil Taylor. Jarrett is also physically active while playing, writhing, gyrating, and almost dancing on the piano bench. These behaviors occur in his jazz and improvised solo performances, but are for the most part absent whenever he plays classical repertory. Jarrett has noted his vocalizations are based on involvement, not content, and are more of an interaction than a reaction. Jarrett is notoriously intolerant of audience noise, including coughing and other involuntary sounds, especially during solo improvised performances. He feels that extraneous noise affects his musical inspiration. As a result, cough drops are routinely supplied to Jarrett's audiences in cold weather, and he has even been known to stop playing and lead the crowd in a group cough. This intolerance was made clear during a concert on October 31, 2006, at the restored Salle Pleyel in Paris. After making an impassioned plea to the audience to stop coughing, Jarrett walked out of the concert during the first half, refusing at first to continue, although he did subsequently return to the stage to finish the first half, and also the second. A further solo concert three days later went undisturbed, following an official announcement beforehand urging the audience to minimize extraneous noise. In 2008, during the first half of another Paris concert, Jarrett complained to the audience about the quality of the piano that he had been given, walking off between solos and remonstrating with staff at the venue. Following an extended interval, the piano was replaced. In 2007, in concert in Perugia during the Umbria Jazz Festival, angered by photographers Jarrett implored the audience: "I do not speak Italian, so someone who speaks English can tell all these assholes with cameras to turn them fucking off right now. Right now! No more photographs, including that red light right there. If we see any more lights, I reserve the right (and I think the privilege is yours to hear us), but I reserve the right and Jack and Gary reserve the right to stop playing and leave the goddamn city!" This caused the organizers of the Festival to declare that they will never invite him again. Jarrett is also extremely protective of the quality of recordings of his concerts. In 1992, a trio concert at the Royal Festival Hall in London was temporarily stopped as he thought he had identified someone in the audience with a recording device. It turned out to be a light on the mixing desk and the concert resumed after an apology. Jarrett has been known for many years to be strongly opposed to electronic instruments and equipment. His liner notes for the 1973 album Solo Concerts: Bremen/Lausanne states: "I am, and have been, carrying on an anti-electric-music crusade of which this is an exhibit for the prosecution. Electricity goes through all of us and is not to be relegated to wires." He has largely eschewed electric or electronic instruments since his time with Miles Davis. Jarrett has been known to write disdainful letters to critics who have negatively reviewed his music. For many years he has been a follower of the teachings of metaphysician and mystic G. I. Gurdjieff. In 1980 he recorded an album of Gurdjieff's compositions, called Sacred Hymns, for ECM. Personal Jarrett lives in an 18th-century farmhouse in Oxford Township, New Jersey, in rural Warren County, with his second wife, Rose Anne (née Colavito). (His first marriage, to Margot Erney, ended in divorce.) He uses a converted barn on his property as a recording studio. Jarrett has four brothers, all younger, two of whom are involved in music. Chris Jarrett is also a pianist, and Scott Jarrett is a producer and songwriter. Keith's son Noah Jarrett, one of two sons from his first marriage, is a bassist and composer. Una volta definito l'acquisto, paga immediatamente con la tua carta di credito tramite PayPal! Pay me securely with any major credit card through PayPal!" title="Pay me securely with any major credit card through PayPal!" border="0"> Visa" border="0">MasterCard" border="0"> Genere: Jazz, Sottogenere: only piano, Velocità: 33 giri, Dimensione: LP (12 pollici), Condizioni: Usato

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