Bregenz & Munchen - Keith Jarrett

Bregenz & Munchen

Keith Jarrett, piano

1. 03-AudioTrack 03.mp3
2. 04-AudioTrack 04.mp3

3. Mon Coeur Est Rouge (Paint My Heart Red)

4. Heartland

개인적으로 Keith의 솔로 중 위의 paint my heart red를 참 좋아하는데 

내가 아는 한 그가 지금까지 남긴 레코딩은 세 종류가 있다.

첫째는 바로 유럽투어 시절에 연주했던 위의 레코딩이고,

다른 하나는 2005년 카네기 홀 콘서트 실황 녹음이다.

마지막으로 잘 알려지지 않은 94년 일본의 한신대지진 희생자들을 추모하는 음악회에서 연주한 녹음이 있다.

카네기 홀 콘서트 실황은 앞서서 포스팅해 놓았으니 검색어에 Keith라 치면 들을 수 있다.

한신 대지진 레코딩은 고맙게도 어떤 일본인이 유투브에 올려놓아서 여기에 소개해 본다.

개인적으로는 이 유럽투어 시절의 연주가 가장 좋지만

한신 대지진 추모 연주도 그에 걸맞게 참 명상적이면서 따뜻하게 잘 연주해놓은 것 같다.

악보를 만들어서 연습해봐야겠다.

Notes by Keith Jarrett

The modern-day piano has been basically the same since the 1870's; so basically the same that it makes one wonder why major improvements were not discovered in all those years. I think the reason is, simply, that is is a nearly complete tool for expression. People have discovered a few "new" materials to replace the "old" ones, but there is certainly no unanimity among pianists as to whether these are, artistically speaking, really improvements.

I grew up with the piano. I learned its language while I learned to speak. It is a more complete, more subtle, more vital language than words. It can celebrate; it can teach; it can affect a person physiologically whether he or she likes it or not. It is, therefore, dangerous. You can say: "I don't agree with these words," and deny them, but you have already been affected by the music before the denial. So... music involves an even greater responsibility than words.

Improvisation is more than the word expresses. It is a greater responsibility (again) in that the participation with the moment is, hopefully, complete. It is a "blazing forth" of a "Divine Will" (Divine if only because of its greater force). This means you (the pianist) are not only a victim of a message (impulse) quite beyond your own human ideas and thoughts, but you must put out (into the world of sound) as large a portion of it as possible (first having put complete trust in the "impulse"). Then (simultaneously?) you must be affected by that sound as though you had nothing whatsoever to do with it. Only then you are responsible to everyone listening because, only then, the listeners are all there is (there is no "pianist"). At the same time you could say there is no listener and everyone in the hall is participating in the music... everyone is a pianist.

This process is the process of creativity. It is the process that motivates every human activity, from the Sunday Sermon to the Happy Hour at the local bar. Only the consciousness of that fact differs. If you know it incredibly well you write Beethoven's Ninth Symphony. If you refuse to even consider it, then cocktail hour may be your most important experience. This is not to suggest that Beethoven's cocktail hour might not have been momentous. Creativity is what makes humanity move (again whether they like it or not or know it or not). We were Created to Participate.

People who see monotony (boredom) in Nature will see monotony in true improvisation. They will not see the process and they will bring their own monotony-of-vision with them. However, there are some truly boring things which, unfortunately, those same people might regard as interesting because it matches their monotonous vision. They will be waiting for something to come to them: something recognizable yet new! (?) A new color, a new disco, roller skates instead of jogging, Allegro instead of Adagio, outside change to make up for inward laziness. 

Participating means accepting the challenge and consciously taking part in your own life. Since you have to participate anyway, why not do it consciously? But this means "no censorship", and at the same time it does not mean "anything goes". It means don't be fooled. It means don't be subverted. It means you have a right to "see it in action". But you cannot tell it to change or not to change; you can only Be There to Receive It. Then you are a participant: you're not only hearing, you're LISTENING. This is not a passive activity. It's really active beyond mere "movement" and "chance". It is what motivates the kaleidoscope; not what causes emotional responses to the wild patterns, but the potential behind it: the essence, not the shell.