Author Archives: Olivier Bruchez

“Concerts: Bregenz / München” and “No End” to be released by ECM in November 2013

Concerts: Bregenz / München

Concerts: Bregenz / München

According to Jazzwise (“Jazz breaking news: Two Keith Jarrett gems emerge from the vaults”), ECM Records will release two Keith Jarrett albums in November 2013 (currently both listed with a release date of November 25 on Amazon):

  • “Concerts: Bregenz / München” (1981) – as announced on KeithJarrett.org in May 2013 (although I didn’t expect this 3-CD set to be released before 2014)
  • “No End” (1986) – featuring “a rarely heard side of Jarrett’s output as he multi-tracks himself on electric guitars, Fender bass, drums, tablas, percussion, recorder and piano at his home studio”
No End

No End

Excerpt from “In conversation with Keith Jarrett” (2009) about the “No End” session:

You mentioned the quartet earlier. Do you see a role for that again in your music?

I am basically never thinking of the future. I actually have things from the past. Believe it or not there’s a sequel to Spirits that was done on all electric instruments: two guitars, electric bass, drums, percussion, voice and occasionally something else.

When did you do this?

Shortly after I did Spirits in the late 1980s, and this has been resting in my house ever since and I played it for a couple of people recently and they go, ‘Oh my God! This has to come out, because nobody is going to believe this stuff!’ And one of the things about it is, I’m playing all the instruments, but the thing I really get a kick out of it every time I hear it is how tight the rhythm section is. It’s like the best feel on some of these things I could ever get because I knew what I wanted. When you’re with percussionists, their sense of time is slightly different. Every drummer is different, and you’re playing piano and you’re trying to blend and find where the rhythmic point is, and it’s a blend of all those guys. But here, it’s so contagious because [the rhythm section] was all me. And I’m not saying this from an egotistical standpoint. It’s… I guess the word is contagious. It’s like hearing Miles’ rhythm section at the Blackhawk, and you hear how they are at one. Every beat at exactly the same precise place, and for me it was all my sense of time. The reason I bring that up is there is not just a future, there’s [also] a past. At the moment the Trio is going to go the length. The next release is going to be the Paris and the London concerts together; there was something special going on there.”

Thanks to David and Felix on the Keith Jarrett Yahoo! Group for the information.

Update (October 10, 2013). Post updated with album covers.

Trio concert at Carnegie Hall on December 11, 2013

“Keith Jarrett, Gary Peacock and Jack DeJohnette will complete the celebration of their 30th Anniversary with a special concert at Carnegie Hall in New York on December 11 at 8 PM.”

Tickets will go on sale on September 11 at 11 AM at the Carnegie Hall Box Office, by telephone at Carnegie Charge (212) 247 7800 or via the internet at carnegiehall.org.

Carnegie Hall 2013

Trio concert at Benaroya Hall in Seattle on October 1, 2013

According to seattlesymphony.org:

“The premier jazz piano trio of Keith Jarrett, Gary Peacock & Jack DeJohnette hits Seattle as part of a four-city U.S. tour! Celebrating 30 years since their first studio release as a trio, Jarrett, Peacock and DeJohnette bring their locked-in, harmonically unrivaled, rhythmically bolted-down music to Benaroya Hall for a one-night-only concert event.”

Tickets are already available directly from seattlesymphony.org ($30-$125).

Thanks to Howard and David for the information.

Keith Jarrett to be inducted as 2014 National Endowment for the Arts Jazz Masters

According to the National Endowment for the Arts website:

Recipients will be honored at an awards ceremony & concert on January 13, 2014, at Jazz at Lincoln Center in New York City, which will be webcast live at arts.gov and jalc.org/live

From Keith Jarrett’s profile:

“Although only music excites me, and awards and ceremonies do not, I feel honored to receive this NEA Jazz Masters Award, due to the many players on the list since 1982 that have been influential in my life. I’m honored to be in their company, and am reminded that the true nature of jazz has always relied on the individual players making their mark on the music of the future. Jazz is not dead as long as someone is playing with true inspiration.”

Thanks to Sean for the information!