Bordeaux Concert (Live) Keith Jarrett

Cover Bordeaux Concert (Live)

Album info

Album-Release:
2022

HRA-Release:
29.09.2022

Label: ECM Records

Genre: Instrumental

Subgenre: Piano

Artist: Keith Jarrett

Album including Album cover Booklet (PDF)

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  • 1Part I (Live)12:18
  • 2Part II (Live)04:18
  • 3Part III (Live)04:04
  • 4Part IV (Live)07:18
  • 5Part V (Live)05:47
  • 6Part VI (Live)03:58
  • 7Part VII (Live)06:59
  • 8Part VIII (Live)05:17
  • 9Part IX (Live)04:15
  • 10Part X (Live)02:25
  • 11Part XI (Live)05:40
  • 12Part XII (Live)05:01
  • 13Part XIII (Live)04:00
  • Total Runtime01:11:20

Info for Bordeaux Concert (Live)



Bordeaux Concert documents a solo performance, the last that Keith Jarrett would give in France, at the Auditorium de l'Opéra National de Bordeaux on July 6, 2016, and finds the pianist at a creative high point.

Each of Jarrett’s 2016 solo piano concerts had its own strikingly distinct character, and in Bordeaux – although the music would progress through many changing moods – the lyrical impulse was to the fore. In the course of this improvised thirteen-part suite, many quiet discoveries are made. There is a touching freshness to the music as a whole, a feeling of intimate communication shared with the 1400 attentive listeners in the hall. This time there is no recourse to standard tunes to round out the performance; the arc of spontaneously composed and often intensely melodic music is satisfyingly complete in itself. In the later concerts part of Jarrett’s achievement as an improviser has been the way in which he has not only channeled the music in its moment-to-moment emergence but implied a sense of larger structure as he balances its episodes and atmospheres.

Reviewing the July 2016 performance, the French press spoke of hints of the Köln Concert and Bremen-Lausanne in the flow of things, and extended sections of Bordeaux Concert are beguilingly beautiful. Tender songs are coaxed from the air, “rousing a community of listening at the edge of silence”, as Francis Marmande put it in Le Monde, “an awareness of time out from the noise and weariness of the world.”

Bordeaux’s community of listeners had long been aware of Jarrett’s music. The Nouvelle-Aquitaine capital was one of the first European cities where Jarrett presented his music, as early as 1970 - with his trio, then, with Gus Nemeth and Aldo Romano. He was back in the early 1990s, with the ‘Standards’ trio with Gary Peacock and Jack DeJohnette. The July 2016 concert, however, was his only solo performance in the city (made possible via the Jazz and Wine Bordeaux Festival and its director, Jean-Jacques Quesada.)

Keith Jarrett, piano


Keith Jarrett
At the end of 2008, Keith Jarrett added two concerts to his schedule at short notice – one at Paris’s Salle Pleyel (November 26), one at London’s Royal Festival Hall (December 1) . The music on “Testament” is from these concerts. Their range is compendious, Jarrett’s improvisational imagination continually uncovering new forms, in a music stirred by powerful emotions. In his liner notes, the pianist is forthright about the personal circumstances promoting a need to lose himself in the work once more.

He also reminds the reader/listener that “it is not natural to sit at a piano, bring no material, clear your mind completely of musical ideas and play something that is of lasting value and brand new.” This, however, has been the history and substance of the solo concerts since Jarrett initiated them, almost forty years ago . Over time their connection to ‘jazz’ has often become tenuous, yet Jarrett’s solo concerts, with the foregrounding of melody and the continual building, and relinquishing, of structure, are also removed from “free improvisation” as a genre. Jarrett’s solo work is effectively its own idiom, and has been subject to periodic revisions by the pianist. “In the early part of this decade, I tried to bring the format back: starting from nothing and building a universe.”

Since the “Radiance” album and the “Tokyo Solo” DVD of 2002 Jarrett has been adjusting the flow of the work, more often working with shorter blocks of material. “I continued to find a wealth of music inside this open format, stopping whenever the music told me to.” This approach distinguished “The Carnegie Hall Concert” (2006), and it is most effectively deployed in “Testament” , where the strongly-contrasting elements of the sections of the Paris concert in particular have the logic of a spontaneously-composed suite. The nerves-bared London performance (the first UK solo show in 18 years) is different again: “The concert went on and, though the beginning was a dark, searching, multi-tonal melodic triumph, by the end it somehow became a throbbing, never-to-be-repeated pulsing rock band of a concert (unless it was a church service, in which case, Hallelujah!).”

In the end, the improviser does what must be done. As Keith Jarrett said, a long time ago, “If you’re a rock climber, once you’re halfway up the face of the cliff, you have to keep moving, you have to keep going somewhere. And that’s what I do, I find a way.”

These days, however, Jarrett is rationing the number of ascents: there have been less than thirty solo concerts in the last decade, making “Testament” a special event indeed. Two further solo performances are scheduled for 2009 – at the Palais des Beaux Arts in Brussels on October 9, and at Berlin’s Philharmonie on October 12.

Booklet for Bordeaux Concert (Live)

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