Keith Jarrett Creation

Keith Jarrett - Creation (2015) {ECM}
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© 2015 ECM Records | ECM 2450
Jazz / Avant-Garde Jazz / Straight-Ahead Jazz / Solo Piano

ECM celebrates the occasion of pianist Keith Jarrett's 70th birthday with two simultaneous releases. One is a classical date for its New Series on which he performs piano concertos by Béla Bartók and Samuel Barber with two different orchestras. The other is Creation, a solo piano offering. While Jarrett has made dozens of solo records, this is unlike any in his catalog. Rather than document the unfolding of his in-the-moment ideas through a single performance, this set features nine sections compiled from half-a-dozen performances in four cities and five venues (all notated in the sleeve) during 2014.

ECM celebrates the occasion of pianist Keith Jarrett's 70th birthday with two simultaneous releases. One is a classical date for its New Series on which he performs piano concertos by Béla Bartók and Samuel Barber with two different orchestras. The other is Creation, a solo piano offering. While Jarrett has made dozens of solo records, this is unlike any in his catalog. Rather than document the unfolding of his in-the-moment ideas through a single performance, this set features nine sections compiled from half-a-dozen performances in four cities and five venues (all notated in the sleeve) during 2014. They have been sequenced and produced by Jarrett as a new, episodic, single work. The brief silences between the sections don't mar the flow; instead, they reveal, time and again, a vast dynamic range, where the moment of inspiration meets the precise moment of articulation in improvisation…

A solo concert from Keith Jarrett - recorded at Munich’s Philharmonic Hall on July 16, 2016, on the last night of a tour - finds the great improvising pianist at a peak of invention. Creating a spontaneous suite of forms in the moment with the intuitive assurance of a master builder interspersing touches of the blues and folksong lyricism between pieces of polyrhythmic and harmonic complexity - he delivers one of his very finest performances. An attentive and appreciative audience hangs on every note, every nuance, and is rewarded with some tender encores including a magical version of “It’s A Lonesome Old Town".

La Fenice is one of a number of documents from Keith Jarrett’s 2000s road archive, joining Radiance, Creation, and other resplendent solo-piano titles. A double album, it captures Jarrett once again in his element, playing alone with no preparation in freely improvised odysseys that range widely in length. The bluesy boogie of “Part VIII,” the grand and gorgeous balladry of “Part IV,” the gospel-tinged swing of “Part V”: These are stylistic paths that Jarrett has traveled over the course of decades, always with a different end result. But with the ghostly “Part VI,” a magical unfolding of harmony that stretches to nearly 15 minutes, he breaks through to another level (one of the key objectives of these solo endeavors). On “Part VII,” with its highly unpredictable modulations that evoke mysterious shadows, Jarrett does it yet again. In between is a classically flavored rendering of Gilbert & Sullivan’s “The Sun Whose Rays Are All Ablaze,” one of four composed pieces in the program. Another, “Blossom,” is a contemplative original from Jarrett’s European Quartet days.

Miles Davis - The Complete Jack Johnson Sessions (1970) {5CD Box Set, Columbia C5K 86359 rel 2003)
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© 1970, 2003 Columbia / Sony Music | C5K 86359
Jazz / Fusion / Jazz Funk / Jazz Rock / Trumpet

Of all the Miles Davis recordings, the 16 weeks of sessions that created a single, two-selection LP produced by Teo Macero called A Tribute to Jack Johnson have been the most apocryphal. While the album itself was a confounding obscurity upon release – due to its closeness in proximity to the nearly simultaneous release of the vastly inferior yet infinitely more label-promoted Live at the Fillmore East – its reputation as the first complete fusion of jazz and rock is cemented. It also garnered a place in the history books for guitarist John McLaughlin, the axis around whose raw, slash-and-burn playing the entire album turns.