one of the basic tenets ... but can one still folllow the tune I respectfully disagree with this statement. I think it is perfectly acceptable to stretch out far beyond the tune, even to completely obliterate it, as long as one does come back to it either on occasion or at the end. Otherwise, I'd hate to listen to My Favorite Things or Surrey With the Fringe on Top - two silly, sappy songs otherwise IMO. It is the stretch beyond the tune which often defines jazz for me. It gets me excited and grips my interest, hearing how inventive players can be with ANY old tune. In no other genre does this occur. That, to me, is what makes jazz so special and transcends all other music genres. |
Addendum - In place of following the "tune", I do prefer jazz which at least follows a groove. I do not enjoy "free jazz", music with no structure at all, when there is nothing to follow. |
As I wrote that comment, there was a voice in my head saying "someone will take you to task for that".
***I respectfully disagree with this statement. I think it is perfectly acceptable to stretch out far beyond the tune, even to completely obliterate it, as long as one does come back to it either on occasion or at the end. Otherwise, I'd hate to listen to My Favorite Things or Surrey With the Fringe on Top - two silly, sappy songs otherwise IMO. It is the stretch beyond the tune which often defines jazz for me. It gets me excited and grips my interest, hearing how inventive players can be with ANY old tune. In no other genre does this occur. That, to me, is what makes jazz so special and transcends all other music genres***
I can't disagree with your comment. And, I admit, my comment was overly simplistic. To clarify: When I said "can one still follow the tune", I don't mean the actual melody, but the rhythmic and/or harmonic shape of it.
A great improviser has the abiity to, in the context of an improvised solo, keep making subtle, and not so subtle references to the original tune/harmony so that the listener's ear/brain can clearly "follow" the tune. Even Coltrane's "My Favorite Things", or better yet, in a tune with more difficult harmonic progression like the classic "Giant Steps", there is always a sense that the imrovisation is grounded to a foundation (the original). Some players lose this focus when they stretch out, and it gets dangerously close to simple musical meandering. Sonny Rollins is another great example. Not too many players have the courage to play without a piano to provide the harmonic underpinnings. Their innate sense of harmony and structure is so strong that they can do without it. I guess what I am saying is that, for me, Jarrett loses that focus sometimes. Obviously, he is a great talent, and is being compared to the very best; but... |
Frogman, after clarification I agree with your comments completely. For me also it is not good when a musician loses focus. Once they wander into naval gazing noodlery or simply just get lost, they lose my attention completely and I'll avoid that track from then on. I've heard it from other musicians but have not yet noticed it from KJ. Though I've not heard as much of his catalogue as I'd like. |
Let me offer a different perspective. Over 10 years ago I was reading the CD liner notes of a recording of one my favorite musical discoveries of the last decade (Anouar Brahem). Brahem mentions his discovery of Keith Jarrett and hearing a distinct "Andalusian" quality in his modal improvisational music. Note that Anouar Brahem is a Tunesian Oud player, with arabic musical roots.
This struck a cord with me - the similaries between Jarrett and Brahem to me is this melancholic quality (call is "andalusian" if you like), expressed not some much by the notes themselves but by the space between the notes, always leaving you yearning for the climax, that never quite arrives, but keeps you on edge (musical Tantra?). To me the Koln Concert is the epitomy of this emotion, but the last 7 minutes of the title track on "personal mountains" is also a prime example.
Interestingly, I recently discovered an obscure Japanese piano player (Masabumi Kikuchi), that conveys much the same emotion. Try his "Tethered Moon: First Meeting". Brilliant stuff. |
Edorr - OMG! Is that Masabumi groaning al la Jarrett? I listened to some samples and while "Tethered Moon: First Meeting" sounds very promising (and very ECM), I am reluctant to add yet another Tourette's moaner/groaner to my cache. Anouar Brahem sounds wonderful. Thank you for mentioning these two obviously talented performers. I'll be placing my order for "Barzakh" and "Le Pas du Chat Noir" as soon as I get home tonight. |
Masabumi's "After Hours" album is a bit less expirimental than "First Meeting", and devoid of moaning (there is some on "First Meeting"). On second thought I would get After Hours first.
http://www.cduniverse.com/search/xx/music/pid/2438445/a/After+Hours.htm
My three favorite Brahem albums are "Barzakh", "Conte de l'incroyable amour" and "The Astounding eyes of Ria". The latter has been discussed extensively in an ECM thread on the music forum, probably because it was stereophile recording of the month. |
I think the connection from Jarrett to Kikuchi is a fecund one, especially as they both record (sometimes) with Gary Peacock and Paul Motian (what a bass/drums genius duo there!).
Kikuchi does sometimes moan and whine, in the tradition. Jarrett didn't start the fire there.
But some of Kikuchi's trio records with Peacock and Motian--as Tethered Moon-- are really off-the-chain lovely. Their cd inspired by Edith Piaf CHANSONS DE PIAF (1999, winter & winter cd) is extraordinarily gorgeous.
Kikuchi's distinctive habit as a pianist in trio setting is playing ballads REALLY slowly, with broad knotty chording, horn-like single-finger melodies, and with wildly over-the-top (dramatic, quietly histrionic perhaps) hesitations. The vocalizing syncs with the crescendos and the tension. It's not unappealing, if an acquired taste.
Also check out PLAYS KURT WEILL, by Tethered Moon (Kikuchi, Peacock, Motian). (1995, Polydor cd).
Kikuchi sometimes records with Paul Motian as leader as well.
I'm especially impressed by PAUL MOTIAN ON BROADWAY, v. 5 (with Kikuchi). And PAUL MOTIAN TRIO 2000 + One (with Kikuchi; Winter & Winter).
I saw the trio once or twice at the Village Vanguard and it was exceptional. Very dramatic music. Extremely dark and romantic. Kikuchi's semi-minimalism allows Paul Motian to sweep in with his inimitable way of filling big spaces with nearly arhythmic commentaries of pure loveliness.
Ok, I'm a fan. |
Hi people, im looking for the text included in changeless álbum and written by Jarrett. If any one knows a website or how i could get it i appreciate it. Thanks.. |
Big KJ fan here moaning and all. Thank You, for adding another layer of players via Kikuchi Piaf and Brahem. I can report that I have not heard of these Pianists prior to reading the above comments. I am always looking to add quality musicians, especially piano trio(s), to my ever growing collection.Happy Listening!
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I had forgotten about his Classical discs from the 1980's. Such a wide, deep catalog from KJ.Happy Listening!
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Welcome! frangones
I do not own Changeless in my collection. I will add this title to my list.Thank You for posting.Happy Listening!
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All of KJ 'Standards' discs are must own. There are alot of them to enjoy.Happy Listening!
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