Keith Jarrett - The art of improvisation
PhilipBoston
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20 Comments
@hirgons 1 month ago
Love you very dear Keith, I hope you are still enjoying life from your house in New Jersey.
@WolfgangvonBoyen 3 weeks ago (edited)
Keith Jarret was my highest inspiration, for finding back to my sources and that was classic music and folk music, because both are one. The first time that I saw Keith was in Molde Jazz festival 1972. I was sitting in the concert with my girlfriend and we held hand with each other during the whole concert. We did' t budge from the first to the last tone.
We didn't budge from the first note to the last; his music gripped us so deeply—in a unique way I have never experienced since, except when playing music myself with friends who were free enough to play that way.
Before that, I knew Keith from Miles Davis and *Bitches Brew*. Being free in the atonal realm is actually child's play, yet returning to the Old Masters to improvise genuine, complex music involving harmony seemed impossible for our generation. Keith opened the door for me to the true realm of harmony, and he is right: it remains a dance along a razor's edge—like when multiple spirits improvise together, as in a Vivaldi *concertino*; in his day, everything was improvised, and when the *tutti*—the full orchestra—arrived, they would play from the score again.
An old saying goes: too many cooks spoil the broth.
That is truly worth meditating upon.☀
We didn't budge from the first note to the last; his music gripped us so deeply—in a unique way I have never experienced since, except when playing music myself with friends who were free enough to play that way.
Before that, I knew Keith from Miles Davis and *Bitches Brew*. Being free in the atonal realm is actually child's play, yet returning to the Old Masters to improvise genuine, complex music involving harmony seemed impossible for our generation. Keith opened the door for me to the true realm of harmony, and he is right: it remains a dance along a razor's edge—like when multiple spirits improvise together, as in a Vivaldi *concertino*; in his day, everything was improvised, and when the *tutti*—the full orchestra—arrived, they would play from the score again.
An old saying goes: too many cooks spoil the broth.
That is truly worth meditating upon.☀
@giovannibazzini7117 2 years ago (edited)
“The more experiences a person has the more simplicity is profound”. Keith Jarrett
“Simplicity is the ultimate sophistication”. Leonardo da Vinci.
“Simplicity is the ultimate sophistication”. Leonardo da Vinci.
@spacegupta71 2 months ago
i feel like its not a remote possibillity to suggest that 47:05 might literally be, straight up literally what inspired the mario coin sound
@TrevorBarre 3 months ago (edited)
I originally "got into" jazz through Miles and Keith Jarrett in 1972/3, and will be forever grateful to them for this introduction. For Jarrett's groundbreaking electric organ work on 'Live at Fillmore' and 'Live/Evil', for his idiomatic statements like 'Ruta and Daitya'' with Jack deJohnette in 1971, and for his utterly eclectic material like the 1972 'Expectations'. And his 'American' and 'European' small groups, of course. Oh, and the solo stuff, and oh...............(Never mind the later, more dodgy, however worthy, stuff.)
I eventually drew the line at "Sun Bear Concerts", a 10 - vinyl behemoth box set released in January 1978 that I could not afford either financially or in time-commitment. terms That specific product seemed somehow symbolic, of either Jarrett's sheer arrogant bombast or of his hypertrophied genius. Both/either? The jury surely remains out, but I'm afraid that I tended to take the former viewpoint, thus losing track of him for a generation, being fired up at the time by a Punk/New Wave fixation with Puritanical brevity. 10 album box sets were DEFINITELY infra dig by 1978!! (Name me another, that truly deserves any attention, that is not 'Sandanista'!!)
"Big Deal!" I hear you say, and I certainly had a lot of catchimg up to do after 1978. It could be said that no-one sane could keep up with artists like Keith arrett or Anthony Braxton. If you let your attention wonder for more than a milli-second, they had a plethora of product to entice, bore, stimulate or annoy y'all? Some could do it all on one album.
I sometimes worry that Keith Jarrett might be taken less seriously than more traditional leaders like Wynton Marsalis et al. Time to bury that sort of thinking, I reckon. The Standards Trio is all fine and dandy, and deserves its place in piano trio Hall of Fame certainly, but the interested listener needs to dig much deeper into Jarrett's admittedly massive discography.
He has re-set the template for modern masters like William Parker, Tyshawn Sorey and Vijay Iyer, ( a bassist, percussionist and a pianist!) who are all category - defying polymaths (yet who all acknowledge their composer/improviser forebears). These artists are neither 'in' or 'out' of 'jazz music' ('inside' or 'outside' the 'changes' as this chordal maze was rigidly described at the time of bop, bebop amd cool jazz, in those years). A definiton that Miles. Parker, Mingus and Ellington, to give just four examples. all questioned when they were quarantined into the that particular harmonic 'jazz' corral. WE NEED NEW DEFINITIONS NOWADAYS, FOLKS . Those who come up with a name for this genre will get rich very quickly. BUT WILL THEY HAVE THE WIT TO DO SO?
Like any corral, it subsequently, as a warning, proved very hard for any of these masters to escape from a definition of their music.
Starting from the 1940s, you trend-setters, you. C'mon, find a name fot these cross-genre artites, why don'tcha? And please, please don't say that it is "just music", when you know it's anything but that.
SORRY TO GO ON, AND ON FOLKS, BUT THIS IS SUCH A GREAT SUBJECT! I'LL SHUT UP NOW.
I eventually drew the line at "Sun Bear Concerts", a 10 - vinyl behemoth box set released in January 1978 that I could not afford either financially or in time-commitment. terms That specific product seemed somehow symbolic, of either Jarrett's sheer arrogant bombast or of his hypertrophied genius. Both/either? The jury surely remains out, but I'm afraid that I tended to take the former viewpoint, thus losing track of him for a generation, being fired up at the time by a Punk/New Wave fixation with Puritanical brevity. 10 album box sets were DEFINITELY infra dig by 1978!! (Name me another, that truly deserves any attention, that is not 'Sandanista'!!)
"Big Deal!" I hear you say, and I certainly had a lot of catchimg up to do after 1978. It could be said that no-one sane could keep up with artists like Keith arrett or Anthony Braxton. If you let your attention wonder for more than a milli-second, they had a plethora of product to entice, bore, stimulate or annoy y'all? Some could do it all on one album.
I sometimes worry that Keith Jarrett might be taken less seriously than more traditional leaders like Wynton Marsalis et al. Time to bury that sort of thinking, I reckon. The Standards Trio is all fine and dandy, and deserves its place in piano trio Hall of Fame certainly, but the interested listener needs to dig much deeper into Jarrett's admittedly massive discography.
He has re-set the template for modern masters like William Parker, Tyshawn Sorey and Vijay Iyer, ( a bassist, percussionist and a pianist!) who are all category - defying polymaths (yet who all acknowledge their composer/improviser forebears). These artists are neither 'in' or 'out' of 'jazz music' ('inside' or 'outside' the 'changes' as this chordal maze was rigidly described at the time of bop, bebop amd cool jazz, in those years). A definiton that Miles. Parker, Mingus and Ellington, to give just four examples. all questioned when they were quarantined into the that particular harmonic 'jazz' corral. WE NEED NEW DEFINITIONS NOWADAYS, FOLKS . Those who come up with a name for this genre will get rich very quickly. BUT WILL THEY HAVE THE WIT TO DO SO?
Like any corral, it subsequently, as a warning, proved very hard for any of these masters to escape from a definition of their music.
Starting from the 1940s, you trend-setters, you. C'mon, find a name fot these cross-genre artites, why don'tcha? And please, please don't say that it is "just music", when you know it's anything but that.
SORRY TO GO ON, AND ON FOLKS, BUT THIS IS SUCH A GREAT SUBJECT! I'LL SHUT UP NOW.
@MichaelDevlin-ps9fd 3 months ago
God....I've never seen this before. Thank you so much, whoever it was. I listen to this trio every other day,
@victorsethy 2 years ago
Improvisation was probably the main language of music for tens of thousands of years. By these days it's almost forbidden. Even jazz built more and more around cliches and patterns. If people would be afraid of anything unexpected, creative, spontaneous, unique and ownest. Sick and frightening.
@emiromeroonkeys 4 months ago
I always thank to my first piano teacher for teach me how to improvise. Then to my jazz teacher for teach me how practice and organize the improvisation.
@paulmitchell5349 2 years ago (edited)
'' We were just trying to find a groove.'' Yup. Also '' Learning what I WASN'T doing .''
@John-rb3yv 2 years ago
Love the open mindedness
Must lose one’s mind and let go and draw upon an active flow... can be very difficult to unlearn what we know
This is inspiring
Thanks
Must lose one’s mind and let go and draw upon an active flow... can be very difficult to unlearn what we know
This is inspiring
Thanks
Keith Jarrett - The art of improvisation
PhilipBoston
128,316 views
No description available