Author Archives: Olivier Bruchez

“The Melody At Night, With You” official transcriptions available from Schott Music

Friedrich Grossnick’s transcriptions of The Melody At Night, With You are now available from Schott Music. The transcriptions are authorized by Keith Jarrett, just like the Köln Concert transcription, which was released in 1991.

"The Melody At Night, With You" (Schott)
“The Melody At Night, With You” (Schott)

Tender is the night on what is, perhaps, Keith Jarrett’s most intimate album. It is comprised of solo piano renderings of jazz ballads and folk songs, played with unmistakable affection. Jarrett dispenses with the jazz soloist’s conventional emphasis on dexterity, the ‘clever’ phrase, the virtuosic sleight-of-hand. Instead he strips these songs to their melodic essence and, gently, lays bare their emotional core.
This transcription, which has Keith Jarrett’s personal approval, was worked out at the keyboard and aims, above all, for maximum playability within the greatest tonal range. Friedrich Grossnick, as an experienced pedagogue, has produced an outstanding score with particular sensitivity to Jarrett’s interpretation thus enabling its faithful recreation on the piano.  

More information about “Munich 2016” album

The correct title of the album is “Munich 2016”, not “München”.

A lot of online stores now have the cover art for the album.

"Munich 2016" cover

As well as more information about the album and excerpts from the tracks:

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”…

Jarrett’s solo concert recordings form a unique and continually evolving body of work inside his discography. To trace the line that leads from 1973’s Solo Concerts Bremen-Lausanne is to follow an extraordinary musical journey. High points along the road have included The Köln Concert, Sun Bear Concerts – due for vinyl reissue in the coming months -, Concerts (Bregenz München), Paris Concert, Vienna Concert, La Scala, Radiance, The Carnegie Hall Concert, Testament, Creation, A Multitude of Angels, and La Fenice. Munich 2016 brings the story up to date, a document of Jarrett’s most recent European performance, held in ECM’s hometown. The particular intensity of the Munich performance singles it out as one of the truly outstanding concerts. So, too, the flow of its component parts.

The shape of the individual concerts has been transformed, the large arc of the early concerts, with unbroken improvisations spanning an entire set, giving way to performances made up of discrete, tightly focused spontaneous compositions. Since Jarrett embarked on this quest the number of solo improvisers has multiplied exponentially yet his sense for developing motifs and melodies and uncovering forms in real time remains unparalleled. There is, still, nothing else like a Keith Jarrett solo concert. “Through a series of brilliant solo performances and recordings that demonstrate his utterly spontaneous creativity,” the Polar Music Prize committee noted a few years ago, “Keith Jarrett has simultaneously lifted piano improvisation as an art form to new, unimaginable heights.”

Thanks to Matthias and Jan for the links.

New album, “München”, to be released in November 2019

It’s currently only listed on Japanese online stores (e.g. Universal Music Store, Tower Records, HMV, etc.), but it looks like a recording of the July 16, 2016 concert at the Gasteig in Munich will be released in November (November 1, 2019 in Japan).

This is currently Keith Jarrett’s penultimate concert, as he only played one concert since then, in early 2017, at Carnegie Hall.

The tracklist is as follows:

CD 1

  1. Part I
  2. Part II
  3. Part III
  4. Part IV
  5. Part V
  6. Part VI
  7. Part VII

CD 2

  1. Part VIII
  2. Part IX
  3. Part X
  4. Part XI
  5. Part XII
  6. Answer Me, My Love
  7. It’s A Lonesome Old Town
  8. Over The Rainbow

This looks like the complete concert.

Thanks to tgwhrk for the information.

Update (September 23, 2019). Fixed the encore titles, which were strange Japanese-to-English translations…

“J.S. Bach: The Well-Tempered Clavier, Book I” (concert recording) to be released in June 2019

According to an article on HMV & Books (in Japanese), ECM will release J.S. Bach: The Well-Tempered Clavier, Book I in May 2019. This is a live recording of BWV 846-869, recorded on March 7, 1987 at the Troy Savings Bank Music Hall in New York, not to be confused with Das wohltemperierte Klavier, Buch I, a studio recording released in 1988.

"J.S. Bach: The Well-Tempered Clavier, Book I" cover
“J.S. Bach: The Well-Tempered Clavier, Book I” cover

HMV lists the album with a release date of May 20, 2019 [This is apparently incorrect, see below.]. A UHQCD (Ultimate High Quality Compact Disc) version of the album will be released in Japan on June 19, 2019. It will consist of 2 CDs, each with 24 preludes and fugues (BWV 846-857 on CD 1 and BWV 858-869 on CD2).

Thanks to “tgwhrk” for the information.

Update (May 8, 2019). J.S. Bach: The Well-Tempered Clavier, Book I is now listed on many online stores. Challenge Records, for example, offers more information and sound excerpts. The correct release date appears to be June 14, 2019, not May 20, 2019.

These are performances in which tempos, phrasing, articulation and the execution of ornaments are convincing,” wrote Gramophone of Jarrett’s first recorded account of The Well-Tempered Clavier. “Both instrument and performer serve as unobtrusive media through which the music emerges without enhancement.” In this live recording from Troy, New York, made in March 1987, just one month after his studio recording of the work, Keith Jarrett addresses the challenges of Bach’s great set of preludes and fugues once more. Part of the goal is transparency, to bring the listener closer to the composer. As Jarrett explained at the time: “The very direction of the lines, the moving lines of notes, are inherently expressive…When I play Bach, I hear almost the process of thought. Any colouration has nothing to do with this process.

Thanks to Boris for the link.