![]() I start by asking him how consciously or analytically he monitors the music as he’s improvising it, how much his own ear dictates what an audience hears. In a January, 1979 Rolling Stone interview, Mikal Gilmore asked Jarrett about the mysterious nature of improvisation. Bach, Mozart, Beethoven, and Schubert to Chopin. ![]() The art of keyboard improvisation flourished with composers from J.S. The coda section drifts into a glassy, otherworldly serenity. An ear-wrenching new harmonic progression emerges around the golden mean. One note makes all of the difference, shifting us into a new universe. As the music develops, it becomes increasingly adventurous and expansive, with subtle surprises. It’s a restless and searching progression, filled with quiet lament and aspirations for new harmonic territory. Most of the improvisation unfolds over a repeating chord progression built on a descending ostinato bass line-a construct used frequently by baroque composers such as Henry Purcell. Pure music remains, with echoes of Debussy, Ravel, Bartók, and many other influences, including the rich jazz tradition.Įncore from Tokyo is an excerpt from Jarrett’s 1978 album, Sun Bear Concerts, a compilation of recordings from his solo tour of Japan in the mid-1970s. Yet, when you venture into the magical world of Jarrett’s solo piano improvisations, the shackles of category fall away. ![]() 1945) began his career performing with Art Blakey, Charles Lloyd, and Miles Davis. The American pianist and composer Keith Jarrett (b. I cannot say what I think is right about music.
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