The full name of the release is Swiss Radio Days Jazz Series Vol. 46 / Charles Lloyd Quartet, Montreux Jazz Festival 1967. It has already been released on October 25, 2019, by The Montreux Jazz Label. It will be released later in some countries. It’s important to note that this is an official release, as this concert has previously been available on multiple bootlegs. Apparently, the original tape from the Swiss Radio has been used, so the sound should be optimal (I haven’t heard it yet!).
The album features Charles Lloyd, Keith Jarrett, Ron McClure, and Jack DeJohnette. The 32-page liner notes include texts from Yvan Ischer, Ron McClure, René Langel, and Pierre Grandjean.
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.”
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:
Answer Me, My Love
It’s A Lonesome Old Town
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…
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.