Analytické Srovnání Nahrávek Sólových Koncertů Keitha Jarretta Z Kolína Nad Rýnem (1975) a Ria De Janeira (2011)

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Analytické Srovnání Nahrávek Sólových Koncertů Keitha Jarretta Z Kolína Nad Rýnem (1975) a Ria De Janeira (2011) UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA KATEDRA MUZIKOLOGIE BAKALÁŘSKÁ PRÁCE Analytické srovnání nahrávek sólových koncertů Keitha Jarretta z Kolína nad Rýnem (1975) a Ria de Janeira (2011) ANALYTICAL COMPARISON OF RECORDINGS OF KEITH JARRETT‘S SOLO CONCERTS FROM COLOGNE (1975) AND RIO DE JANEIRO (2011) Jiří Pospěch Vedoucí práce: Mgr. Jan Přibil Olomouc 2012 Prohlašuji, že jsem tuto práci vypracoval samostatně s použ ití m literatury a pramenů, které uvádím v přiloženém seznamu. V Olomouci dne 12 . pros ince 2012 2 Obsah 1) Úvod ...................................................................................................................................... 4 2) Stav bádání ............................................................................................................................ 7 3) Život a tvorba Keitha Jarretta .............................................................................................. 12 4) Přehled nahraných sólových improvizovaných koncertů .................................................... 20 5) Analytická část ..................................................................................................................... 25 a) Základní rysy improvizace Keitha Jarretta ....................................................................... 26 b) The Köln Concert ............................................................................................................. 33 c) Rio .................................................................................................................................... 45 d) Srovnání nahrávek koncertů The Köln Concert a Rio ...................................................... 53 6) Závěr .................................................................................................................................... 56 7) Resumé ................................................................................................................................ 58 a) Summary ......................................................................................................................... 59 b) Zusammenfassung ........................................................................................................... 60 8) Seznam použité literatury, pramenů a dalších zdrojů ......................................................... 61 a) Knihy ................................................................................................................................ 61 b) Encyklopedie a slovníky ................................................................................................... 61 c) Časopisy ........................................................................................................................... 61 d) Notové materiály ............................................................................................................. 62 a) Audio ............................................................................................................................... 62 e) Video ............................................................................................................................... 62 f) Internet............................................................................................................................ 63 9) Příloha - CD .......................................................................................................................... 64 3 1) Úvod Keith Jarrett v průběhu své dlouhé kariéry odehrál velké množství sólových improvizovaných koncertů. 1 Ve světě je z n ám ý jako sólový klavírní improvizátor a jazzový muzikant. N a hr áv á většinu svých s ól ov ýc h koncertů, ale pouze některé jsou z p ět n ě vyhodnoceny tak, že se je rozhodne vydat. Od roku 19 73 d o současnosti jich pod hlavičkou ECM vyšlo celkem dvanáct . Cílem práce je postihnout vývoj improvizace, způsob hry a tak i rozdíly ve vybraných s ól ov ýc h k onc e rt ec h Keitha Jarretta . Vývoj bude představen prostřednictvím srovnání kultovní nah r ávk y The Köln Concert z roku 1975 a posledního alba Ri o z rok u 2 011 . P ro č j s ou v práci analyzovány právě tyto koncerty? U kon ce rt u z Kolína nad Rýnem je výběr do jisté m íry předurčen jeho pověstí a obecnou znalostí. Historky a situace, které se k němu vážou a následný v š e ob e cn ý ús p ě ch j s ou toho dokladem. De s k a The Köln Concert se prodala v miliónech kusů a dí k y t om u naplno odstartovala Jarrettovu sólovou dráhu. Před touto nah r ávk ou J ar r et t s i c e ještě vydal dvojkoncert z Brém a Laussane, ale až koncert z Kol í n a na d R ýn e m našel široké publikum po celém světě a dodnes formuje mladé muzikanty, k teří si nahrávku poslechnou. M i m o fa kt , že se ke jménu Keitha Jarretta většině j az z ových muzikantů vybaví právě tato slavná nahrávka z K ol í n a nad Rýnem, je zde ještě další argument proč analyzovat tento koncert. Je to jediný koncert, který je celý zapsán v notách. Lép e řečeno je transkribován z na hr á v k y Jarrettovým příznivcem Kunihiko Ya m a s hi t ou z Japonska. Samotnou t ranskripci Jarrett s ch vál i l k vydání a přidal k ní vlastní předmluvu. Pro bližší zkoumání hudby je no t ov ý materiál, ve kterém je z a ps á na h odi n a evolučního improvizovaného hraní zapsaná do not , nedocenitelnou pom ů ck ou . 1 V rámci této práce je pojmu koncert užíváno ve smyslu sólového recitálu. Výrazu koncert je užíván, protože se vyskytuje v originálních názvech alb Keitha Jarretta. 4 U kon c e rt u z Ria de Janeira jsou pro analýzu důvody tyto . J e to poslední živá nahrávka jeho sólového improvizovaného h r aní , na které bude dí k y s rov ná ní s al b e m T h e K ö l n C on c er t n ej l ép e vi d ět rozdílnosti . Časová vzdálenost mezi koncerty a vývoj, kterým si Jarrett prošel v tomto mezidobí, z fo rm ov al y j eho h ru do nových struktur. V době první nahrávky bylo Jarrettovi třic et l et a zároveň hrál v jazzovém kvartetu, zvaném A merican quartet . 2 V době pořízení nahrávky R i o Jarrett už téměř třicet let hrál se s v ým Standards triem. 3 Sám se během koncertu v Riu de Janeiru cítil velice dobře a označil je j z a svůj dosavadní vrchol a nebyl sám, kdo tak učinil. K analýze nahrávky je přiložen můj přepis jedné části koncertu. Vedle komparace je v práci také významně zastoupena metoda hudebně analytická . Stěžejní kapitola, v e které analyzuji vybrané koncerty, je rozčleněna na několik podkapitol. Zpočátku j e v ní všeobecně pojednáno o Jarrettově improvizaci a pojmenováno několik hojně se vyskytujících rysů v j e ho h ř e. Pojmy zde specifikova né jsou pak použity při samotné analýz e nahrávek. Jelikož není možné Jarrettovu hru žánrově zařadit, není také zcela možné určit metodologii, která by do posledního detailu popsala procesy a hudbu z ní vyplývající. Pro výslednou komparaci je tedy využito metodologie Karla Janečka, která je doplněna o pojmy z jazzové terminologie z publ i k a ce M a rk a Le v i n a . Další dvě podkapitoly v analytické části jsou už pak analýzami několika částí vybraných koncertů. Vzhledem k to mu, že ambicí práce je zasadit J a rr et t ovu tvorbu do širšího historického a kulturního kontextu, využívat budu rovněž metodu historiografickou . V práci je tedy kapitola popisující jeho životopis. V životopise jsou zdůrazněny jeho zásadní hudební počiny, ale ne pouze sólového charakteru . Na všeobecnou kapitolu navazuje výběr z diskografie. Tento v ýb ě r j e 2 Keith Jarrett často hrával i na jiné nástroje jako perkuse, nebo sopránový saxofon. Dalšími členy Amerického kvartetu byli: Paul Motian – bicí, Dewey Redman - saxofon a Charlie Haden - kontrabas. 3 Keith Jarrett, Gary Peacock - kontrabas, Jack DeJohnette – bicí. 5 už z am ě ř en na sólové improvizované koncerty a poskytuje jejich kom pl et n í v ýč e t , s pol u s j ej i c h krátkou charakteristikou. Kapitola s výběrovou diskografií j e dopl n ěn a o krátké shrnu t í v ýv oj e improvizačního stylu K ei t ha Jarretta. V k api t ol e předcházející závěru jsou analyz ované nahrávky srovnány. Komparace nahrávek dle využité metodologie přináší v ýs l ed ek v podobě určení jejich rozdílností a podobností. N a tomto základě je pak viditelný vývoj a proces změny, kterým si Jarrett za čtyřicet let své s ó l ov é koncertní kariéry pro š e l . 6 2) Stav bádání Keith Jarrett u nás poprvé koncertoval v roce 1967. Vystoupil na Mezinárodním jazzovém festivale v P r az e s kvartetem Charlese Lloyda při turné po Evropě. V následujících dvou dekádách není u nás o Jarrettovi příliš slyšet. Po sametové revol u ci b yl o nejspíš těžké splnit podmínky pro jeho vystoupení s ohledem na nástroje, vybavení, prostory a finance. Proto je v československé historii už jenom jeden další záznam o jeho kon ce rt u , a t o s e s v ým Standards triem v Paláci kultury v P r az e , dne 30 . listopadu 1990. 4 V roce 1990 se ve své studii s n áz v e m O aktuálnosti Keitha Jar r et t a zmínil o Jarrettovi Lubomír Dorůžka v č as op i s e M e l odi e . 5 Tento časopis se převážně věnoval populární a jazz ové hudbě a to už od roku 1963. Nejpočetnější zastoupení refle xí Jarrettovy tvorby pak nalezneme v č as o p i s e H arm oni e . Periodikum, jež se utvářelo až v době porevoluční, má široký záběr a přináší všechny důležité aktuality a pohledy na hudební scénu domácí i světovou a to nejen v oblasti jazzové a populární hudby. Aut oři, kteří psali o Jarrettovi, jsou Vít Roubíček, Pavel Klusák, Vladimír Strakoš, Petra Mičkalová nebo Michal Nejtek. V periodiku m ůž em e n al éz t nej en recenze desek jako u zmiňovaného Víta Roubíčka na Šostakovičova
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