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DECEMBER 2011 ISSUE MMUSICMAG.COM DECEMBER 2011 ISSUE MMUSICMAG.COM MUSICIAN What do you recall of the Rio show? I’m doing—although I don’t know anybody ESSENTIAL JARRETT When I walked onstage for the Rio concert who does—is beginning. On Rio there are I was at ease. There was something warm 15 difficult moments that wouldn’t exist if I and glowing about the hall. It was a little played constantly. It’s an affirmation of my The Köln Concert funky, and there was something inviting state of mind being so open that I can start (1975) about it. But I wasn’t aware of my radical over 15 times and create a structure that This is the one that put feelings about it until I listened back to it. more or less seems unimprovised. Jarrett on the map as I couldn’t stop listening to it, and that had a solo piano master. never happened to me before. What guides you? Recorded in Germany In Buddhism, an empty mind is the real in January 1975, it went on to become What makes a show stand out? music. It’s that first choice of sound that one of the best-selling jazz albums—and In my case it has nothing at all to do with brings you back into the world again. When I best-selling piano album—in history, with musical thought. It’s just, am I in the right began that format, the audiences didn’t know more than 3 million copies sold worldwide. place? Did I have the right meal? I somehow what the hell to do: “Do I applaud? Is he realized that there was a connection with OK?” When I came onstage for the second Nude Ants the audience that grew as the Rio concert set in Rio, I had no idea I was going to play (1979) continued. It was a nice feeling. There is an F-major chord. As soon as I played that This session, recorded nothing edited out of Rio. That’s true of most chord one would think, how does he know at New York’s Village everything I’ve released solo, but Rio has a what to do from that? But it was the chords Vanguard in 1979, structure that was so tight I surprised myself. that told me what to do. It’s life or death. It features Jarrett with his One of my biggest questions to myself after isn’t even a decision. so-called European Quartet: Jan Garbarek, that gig was how do I play again? How do tenor saxophone, soprano saxophone; Palle I play anywhere else? Where else does the How about in the studio? Danielsson, bass; and Jon Christensen, I hate studios. The only reason I can drums. At times loud and funky, it showcases A ll images by record in my own studio is because I live an earlier and different side of Jarrett. there. It doesn’t feel like a studio. It has a ‘If I could stay window that looks out at trees and a lake J.S. Bach: Das R ose and is very small and cozy. But in general, Wohltemperierte A nne Colavito away from studios if I could stay away from studios I would. I Klavier, Buch I need the audience. They think I don’t like (1988) them, but actually I know how much more This two-disc exploration I would. I need they’d get under slightly different conditions of one of Bach’s most that they can control. They think, “Oh, how revered works displays the discipline Jarrett the audience.’ come he’s so sensitive?” applies to his non-jazz playing. Yet he didn’t stick entirely to the script; although this is music of the culture have some very close How do you adapt to the trio? non-improvisational, he brings his own touch KEITH JARRETT association to jazz? This has happened in You just stay out of the bass player’s way. to the collection of short pieces. After four decades, a piano giant still plucks inspiration from thin air other countries, but not so perfectly. (laughs) It’s not so different, but we are in a category of music I’m intimate with when Yesterdays By Jeff Tamarkin You’re known for long pieces, why are I play with the trio. When I play alone I’m (2009) you playing shorter ones now? not in a category, I don’t think I am a jazz Any of the Jarrett trio’s JAZZ IS IN PART THE ART OF IMPROVISATIOn—anD Miles Davis (for whom the acoustic-focused Jarrett briefly and It was a major change. I’ve heard people player. In the trio, that is what I do. There’s a many Great American legendary pianist Keith Jarrett takes the concept to its extreme. Up reluctantly went electric) before focusing on a full-time solo career. say, “He had chronic fatigue syndrome and different psychological and musical makeup Songbook releases are until the moment he presses down the keys, he hasn’t a clue as to Much of that work truly is “solo”—Jarrett, alone with his piano, his endurance isn’t as great as it was when that we’re dealing with. worthy, but this live set how he will begin or what will follow. “There’s this nanosecond, or improvising. Rio, recorded last April in the Brazilian capital at a he was younger, so that’s why he does cut in Tokyo in 2001 is especially ebullient maybe it’s an eternity, between sitting at the piano ready to play gig Jarrett calls one of his best in years, is one such offering. Its these short pieces.” Obviously they didn’t Is that format restrictive? and wide-ranging. Skipping merrily from something and actually playing something,” Jarrett says. “People say two CDs are broken up into 15 numbered parts, each under 10 know the backstory. I kept hearing myself It’s restrictive to be playing too many ballads to bop to old-school ragtime, Jarrett, to me, ‘It’s hard to believe that was improvised,’ and I don’t believe it minutes apiece. But since 1983 he has also worked with a trio going to the same places and playing things concerts in any format. When you’re young Peacock and DeJohnette serve up a reminder either, although I know it’s improvised and I know that I did it.” featuring bassist Gary Peacock and drummer Jack DeJohnette. One- that my fingers were used to playing, but I and need the work, you have to play a lot. of why they are peerless interpreters. Such brilliance comes with its idiosyncrasies—in his four-decade off pairings like 2010’s Jasmine, with bass giant Charlie Haden, are honestly didn’t like those things anymore. So But I saw the Duke Ellington band when career, Jarrett has been known to berate audience members who a rarity. “I’m not against the idea of playing with other people,” says I told myself, “Every time this happens, just they were doing one-nighters for 30 days Paris/London: distract him. His animated and verbal performance style—he often Jarrett, 66, who does most of his studio recording at home in New stop.” Then I would wait a minute and start in Europe and they looked like ghosts. I Testament hums aloud while playing—is certainly unique. But his genius is never Jersey. “But I don’t think it’s all that wonderful to meet someone and again, telling my hands, “Just go somewhere, remember thinking, “This is a lesson.” Also, (2009) in dispute. The Allentown, Penn., native grew up a piano prodigy make an event recording and have that be the hook.” We recently just do something.” The idea that I should musicians don’t listen to their own music Jarrett’s solo albums of who was giving formal recitals by age 7. After a stint at the Berklee enjoyed a rare conversation with Jarrett about Rio, his trio and the have been playing forever was never enough when they keep playing. They the past several years College of Music, he played with Art Blakey, Charles Lloyd and endlessly challenging psychology of improvisation. my idea. That’s just some critic thinking, don’t realize what they’re doing, they’re just have been particularly “That’s the real Jarrett.” getting to the gig. But I wouldn’t say I’m a satisfying. Testament is a three-disc collection different kind of player in either situation. If I drawn from late 2008 European shows. ‘The hardest thing to do in improvising, for me or for What is the single most challenging can use the whole piano, then suddenly I’m Jarrett touched upon multiple moods over aspect of improvisation? not a jazz player—because most jazz players the course of the run, but an ecstasy flows anybody, is beginning.’ The hardest thing to do in improvising, for have a right hand but no left hand. I grew consistently throughout. Rarely has a grand me or for anybody who would do what up playing classical. piano sounded so grand. 46 47 M mag 16.indd 46 1/12/12 10:13:16 PM M mag 16.indd 47 1/12/12 10:13:42 PM DECEMBER 2011 ISSUE MMUSICMAG.COM DECEMBER 2011 ISSUE MMUSICMAG.COM MUSICIAN Onstage in Europe Keith Jarrett, Jack DeJohnette, Gary Peacock ‘People think you find your voice TOOLS OF THE TRADE and everyone knows who you are. Keith Jarrett is a Steinway man through and through.

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