Rio (Keith Jarrett album)

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Rio
Keith Jarrett's live album

Publication
(s)

2011

admission

April 9, 2011

Label (s) ECM records

Format (s)

CD

Genre (s)

jazz

Title (number)

15th

running time

90:25

occupation Keith Jarrett

production

Manfred Eicher

Location (s)

Theatro Municipal in Rio de Janeiro

chronology
Jsmine
(2010) 		Rio Sleeper (Tokyo, April 16, 1979)
(2012)

Rio is a jazz album with solo improvisations by the American pianist Keith Jarrett , released in 2011 on ECM Records .

content

The album contains recordings of an improvisational solo concert by the pianist, which was recorded on April 9, 2011 at the Theatro Municipal in Rio de Janeiro .

The album was released as a 2CD set on November 4, 2011, contains a total of fifteen tracks, with a total playing length of 90 minutes and 25 seconds.

Keith Jarrett set out on a short tour of South America in 2011, with stops in São Paulo , Rio de Janeiro and Buenos Aires . The concert in Rio de Janeiro, which is recorded in full on the album, was the second concert on the tour. Keith Jarrett holds one of his best concerts and albums for Rio . It is “very nicely structured, jazzy, serious, sweet, playful, warm, economical, energetic, passionate and connected in a unique way with the Brazilian culture. The sound in the concert hall was excellent and the enthusiastic audience was also excellent. ”Immediately after the concert in the Theatro Municipal, Jarrett is said to have contacted Manfred Eicher with the request to release the album as soon as possible, which also took place in 2011.

Keith Jarrett (2003)

In all of his solo concerts, Jarrett aims to create music “out of nothing” without any musical consideration or plan. As early as the 1980s he said: “It is always like stepping on stage naked. The most important thing in a solo concert is the first note I play, or the first four notes. If they have enough tension, the rest of the concert will follow naturally. Solo concerts are pretty much the most revealing psychological self-analysis that I can imagine. "For Wolfgang Sandner - the artist's German biographer - Jarrett's solo concerts are" visits to the workshop or the delivery room, open-heart music operations under public supervision. " In his “work they form a continuum in which ... the stylistic features are always similar, the ideas and techniques are brilliantly mixed.” They are “often created out of the moment without a template or formal design, by Jarrett in himself listened in, wide awake and sleepwalking, impulsively and neurosurgery, gave everything, wrested or even let through as a medium. ”And Jens Glüsing states in his review of the album Rio in Der Spiegel :“ Keith Jarrett's solo concerts are one hundred percent improvised , they are an open-ended adventure. They end up as a flop - or they conjure up one of those rare moments of unity of spiritual truth that even atheists would call divine. "

The Theatro Municipal do Rio

As with the three last published solo concerts - Radiance (ECM, 2005), The Carnegie Hall Concert (ECM, 2006) and Paris / London - Testament (ECM, 2009) - there are also shorter improvisations with Rio , here with a playing time between 3 and 9 minutes. Jarrett - known from the past for his long and sprawling piano improvisations - explained the change in his playing practice in an interview with Down Beat as follows: “If I start playing and after a minute and a half feel that the piece is over, I will stop . It is the freedom to quit when quitting seems right. I got myself into a situation that was a little too complicated, in which the rules that I had made for myself dominated me - instead of having simple rules that lead me to something new. ”And Wolfgang Sandner comments on them over time changed improvisational practice in Keith Jarrett's book as follows: “Compared to the early, shall we say: wildly determined recordings, the later recordings seem ... more structurally contoured, even if he piles up the tonal masses with highly virtuoso dexterity and the tone consumption is enormous ... The The impression is now much more that of ad hoc composing when Jarrett is improvising. That means, where in the past a piece got out of joint, seemed abruptly broken off or sound layers collided that absolutely did not want to be connected, here - despite the speed with which everything happens - a superordinate design becomes noticeable, the will, to put something together that belongs together. "

The Badische Zeitung provides a short version of what can be heard on the album Rio in its review of the album: "His current solo double album, which comes with an unusually colorful cover, leads the listener into 15 parts, as they say, and in a carefree way in different worlds of sound made of tricky harmonies and melodies. The virtuoso interpretations that develop from the moment are sometimes abstract sound research with borrowings from classical and free jazz , sometimes groovy pieces with reminiscences of Africa, sometimes ballads of folkloristic simplicity with impressionistic echoes of Claude Debussy or Bill Evans . The jazz tradition is not neglected with Keith Jarrett either. ”Sigfried Schibli provides another short version in the Basler Zeitung :“ On ' Rio ' there is a kind of fugato in the first piece . The fourth chords in the second piece smell as much of Debussy as of jazz. On the third track, the master lets himself be carried and inspired by an ostinate bass motif like in a baroque Passacaglia . In the fifth, a chordal melody is conjured up from the right hand over a monotonously drumming piano bass. The sixth stands out for its pulsating meter, which is the foundation of an ostinate ascending line. It ends laconically and without a final bang. The opposite is the end of number eight: a lightly dabbed ascending major triad - a smile in tones. Most astonishing is probably the last of the 15 improvisations, in which the right playing hand trembles as if it were Beethoven's ' Appassionata ' . "Anyone interested in impressions from the live concert in Rio de Janeiro should refer to the article" Great intoxication, cruelly worked out " , written by Jens Glüsing, who attended the concert.

With regard to Jarrett's 40 years of solo improvisation practice - from Facing You (1971) to Rio (2011) - Wolfgang Sandner stated in his 2015 biography: “That is almost thirty-six hours of mainly improvised music from forty years! Often without a template or formal draft, created from the moment in which Jarrett belonged within himself, wide awake and sleepwalking, impulsively and neurosurgery, gave everything, wrested himself from himself or even let through him as a medium. This part of his musical oeuvre alone would have to be rated as a gigantic lifetime achievement. His "Free Playing", the paradoxical concept of a game without a concept, in which any musical intention, imprint or previous education should be excluded as far as possible, this ludicrous idea of ​​immaculate improvisation was so radical at the time that it can be found alongside a handful of revolutionary thoughts and must represent events in the history of jazz - even if this describes a performance practice whose representative Keith Jarrett can be regarded almost entirely alone. "

Rio is not the last solo improvised recording by Jarrett, but it will be four years before the next album, Creation (ECM, 2015), is released.

Contributors

The musician and his instrument

  • Keith Jarrett - piano

The production staff

  • Martin Pearson - recording technology
  • Sascha Kleis - layout
  • Mayo Bucher - cover design
  • Daniela Yohannes - Photography

Track list

  • Keith Jarrett: Rio (ECM 2198/99 (277 6645))

CD 1

  1. Part I - 8:40
  2. Part II - 6:52
  3. Part III - 6:00
  4. Part IV - 4:13
  5. Part V - 6:25
  6. Part VI - 7:00

CD 2

  1. Part VII - 7:28
  2. Part VIII - 4:58
  3. Part IX - 5:02
  4. Part X - 5:01
  5. Part XI - 3:20
  6. Part XII - 6:09
  7. Part XIII - 7:03
  8. Part XIV - 5:40
  9. Part XV - 6:34

reception

The album Rio received a lot of media coverage in German-speaking countries and internationally. This is certainly due to the 40th anniversary of Keith Jarrett's solo improvisation practice, but also to the fact that the artist has made himself rarer on the concert stages of the world and in music publications in recent years and is now only one every 3–4 years new album released with solo improvisations. In addition to the great media coverage, the album also celebrated commercial success and reached the top of the German jazz charts for one month in January 2012 .

The reception of the album in the German-speaking media is almost exclusively positive:

Wolfgang Sandner characterizes the album in his book as “music that breathes freely, with an almost lively sound gesture.” The star states: “When the master of improvisation really hits the gas, we often remain astonished in the dust of the street - and cannot more follow, where Keith Jarrett actually wants to go on his concert recording ' Rio '. The calmly flowing pieces 1 and 7 on CD 2, however, which seem to arise out of nowhere under Jarrett's hands, leave you speechless with their magical beauty. "Jens Glüsing writes in Spiegel Online :" ' Rio' ... is a masterpiece by artists, sound engineers and of course Eicher, the head of the record label ECM. It's not for buttons in the ear and iPod, too good to download. You need big, full boxes, a decent amplifier, the original CD or vinyl, just like in Cologne. ' Rio ' is Jarrett's best solo appearance since the ' Köln Concert '. " Manfred Papst says in Neue Zürcher Zeitung :" In these fifteen untitled pieces he gives his best and shows all his versatility: Percussive, architecturally daring improvisations alternate with ballads and fantasies inspired by blues , gospel , calypso, and flamenco . Rolling ostinato figures of the left hand, always a trademark of Jarrett, are used again and again. Jarrett makes music in a concentrated, relaxed manner, with a serene presence. ”Ulrich Steinmetzger finds in the Südkurier :“ One precious follows the other with sheer exuberant creativity. Again this inimitable mixture of trace elements of classical piano literature and the spontaneity of jazz, of insistent bass lines and indulgent themes, of ostinatian chords and filigree melody magic. Only this time everything comes to the point much faster to play around him furiously. (...) The result is music that is one of the most beautiful in his long and unprecedented career. " Thomas Steinfeld comments in the Süddeutsche Zeitung as follows:" How amazing that Keith Jarrett succeeds every time in creating a new musical world , out of nowhere, out of empty consciousness. (...) This recording of a solo improvisation should join the others, and together they form a large oevre of their own: It consists of the pianistic virtuosity and the almost unbelievable ingenuity of only one person. ”For Stefan Hentz in Die Zeit sucht die Music again and again in “familiar places. Again and again the ear hears tried and tested key stimuli, but before the sounding becomes all too familiar, the sound dissolves - and the music moves on. With Jarrett one is always amazed at how fluidly the individual parts fit together in his playing, how the tectonic plates of the music float in space until they shift against each other and generate frictional heat. Jarrett takes on the music with imaginative agility, anger and furore alike. You know all this, and yet a lot seems different every time: ' Rio ' exudes an almost sunny, serene energy that makes it clear that every concert has its own magic. A magic that is always more than the ghosts from the treasure chest could dream of. "Rainer Kobe finds in the Badische Zeitung :" His solo effort is another masterpiece that will go down in the annals of jazz. ' Rio ' ... Another place to remember after Cologne, Bremen and Lausanne. ”For Ralf Dombrowski from Sono Magazin,“ Keith Jarrett ... explores the dimensions of the concept from changing perspectives, still strictly following the dogma of Following spontaneous ones, right up to the evening in Rio, which he let flow in a dramaturgy of contrasts of impressionistic surfaces and bluesy excursions, ballad-like and gospel-funky, wide-ranging and compactly condensed chapters. It is this variety of improvised offers, with a conciliatory impetus and accompanied by an enthusiastic audience, that gives ' Rio ' a special atmosphere and, as a live document, surrounds it with an aura of something special. ”For Berthold Klostermann from Stereo magazine,“ the music works now light, airy and carefree. In the 15 parts, including three encores, there are abstract lines, dissonant clusters and shimmering sounds. (...) A highlight among many good Jarrett concerts. "For the magazine Audio," the atmosphere in Rio ... opened the way to magical ostinati, blissful melodies, South American and Caribbean rhythms: a firework of good humor. "

The only critical review in German-speaking countries comes from Michael Pilz in Die Welt , for which “Keith Jarrett's excursion to Rio ... without samba” ends, who rates the album with only 3 out of 5 stars and performs Jarrett's solo improvisations: “His improvisations made the jazz pianist Keith Jarrett famous. ... Keith Jarrett measured the world with the concert grand. From the ' Solo Concerts (Bremen-Lausanne) ' to the 'Concerts (Bregenz-Munich)' to the 'Testament, Paris / London'. He gave his 'Paris Concert' and the 'Vienna Concert'. Everyone knows 'The Köln Concert' who was old enough after 1975 to smoke weed and discuss the freedom of music, which fades away the moment it is composed. Recording such music on records always seemed absurd as an idea. But Keith Jarrett and the Munich-based company ECM recorded the appearances as placemarks for spiritual jazz. ... In April 2011 he performed in Rio, the tapes were on, and on ' Rio ' you can hear him as before, expressive to impressive, the lead foot on the reverb pedal. He doesn't groan and gasp like he did in Cologne 36 years ago. But now the Latin Americans are also happy that Keith Jarrett has visited them and immortalized them on the world map of his CDs. "

The English-language media also react positively:

The review website Metacritic, which produces a normalized rating of 0 to 100 from reviews from "mainstream critics", scored the album with a score of 90 based on 8 reviews, which is considered general approval. The Allmusic -Rezension by Thom Jurek awarded the album 4.5 out of 5 stars by stating: "After it has heard, it is obvious that Rio is very special indeed. It makes sense that Jarrett is a practically limitless musician whose immediate, sweeping ideas are executed with astonishing skill; this music is passionate, poetic (often song-like) and is outside the boundaries of the genre ... ' Rio ' is the new standard by which the pianist's future solo recordings must be measured and maybe they are the benchmark for every other player, who tries the same. ”John Fordham says in The Guardian :“ Rio presents an effervescent Jarrett ”and awards 5 stars out of 5. Will Layman gave PopMatters 9 out of 10 stars and stated: “ Rio is the most brilliant Jarrett solo recording of recent times. Instead of improvising in a longer, more expansive form, Jarrett plays shorter pieces here, each one focused and concise. In fifteen very different miniatures, Rio shows the pianist's amazing ability not only to create grooves or settings, but also to develop networks of melodies and counter-melodies. From free play to blues to gospel to painful ballads, Jarrett covers a huge piano landscape. ”Andy Gill awards The Independent 4 out of 5 stars and writes:“ These 15 pieces of music create a whole world of music that is colored by the location of the concert and move back and forth between the softly lyrical and the drivingly rhythmic, with Jarrett's well-known, pulsating characters in his left hand who form a solid foundation for the serpentine runs of his right hand. ”Phil Johnson compares the album to Jarrett's in The Independent on Sunday most successful release and states: “The second of the two CDs is a lyrical triumph, comparable to the Cologne Concert, intense drama and emotional catharsis, captured in a long-distance improvisation.” For Paul de Barros from Down Beat , Rio is “the most amazing album that he has made over many years. ”For Stuart Nicholson of Jazzwise , Rio is“ a masterpiece, a jazz recording so creative that it is impossible to capture the vastness of the performance in one, two, or even three samples. "John Bungey writes in The Times :" On the second CD the muse descended and sat on Jarrett's shoulder with pieces of music that sound more like standards than spontaneous compositions. This culminates in a ballad of pronounced loveliness. "Charles J. Gans says in the San Francisco Chronicle :" Rio can withstand The Köln Concert as one of the warmest and most passionate solo recordings by Jarrett "And Orlando Bird sums it up in All About Jazz :" After forty years With spontaneous composition, Jarrett remains a great original and on ' Rio ' his voice is as clear as ever. "

Only Iwan Hewett from Daily Telegraph was less enthusiastic about the album, only awards 3 out of 5 stars and states: "There are good things here, but nothing particularly new"

literature

Web links

Individual evidence

  1. ↑ a b c d e f g h i j Rio at www.ecmrecords.com. Retrieved March 22, 2017 .
  2. ^ Rio at www.discogs.com. Retrieved March 22, 2017 .
  3. ↑ Keith Jarrett, quoted from www.ecmrecords.com. Retrieved March 24, 2017 : “Beautifully structured, jazzy, serious, sweet, playful, warm, economical, energetic, passionate, and connected with the Brazilian culture in a unique way. The sound in the hall was excellent and so was the enthusiastic audience "
  4. ↑ quoted from Peter Rüedi: Keith Jarrett, the eyes of the heart . In: Siegfried Schmidt-Joos, Idole. 5 Only the sky is the limit. Berlin, Ullstein publishing house 1985
  5. ↑ a b c d e f Wolfgang Sandner: Keith Jarrett. A biography . Rowohlt, Berlin 2015, ISBN 978-3-644-11731-0 .
  6. ↑ Rio at www.spiegel.de. Retrieved March 24, 2017 .
  7. ↑ Keith Jarrett in Down Beat, quoted from ecmrecords: https://www.ecmrecords.com/catalogue/143038752974/the-carnegie-hall-concert-keith-jarrett
  8. ^ Review of Rio in the Badische Zeitung. Retrieved March 22, 2017 .
  9. ↑ a b Rio at www.spiegel.de. Retrieved March 23, 2017 .
  10. ↑ MediaControl & Apple iTunes Jazz Charts . ( Memento of February 16, 2012 in the Internet Archive ) jazzecho.de, accessed on May 11, 2020.
  11. ↑ Rio at www.badische-zeitung.de. Retrieved March 23, 2017 .
  12. ↑ Rio in the audio magazine cited from www.jpc.de. Retrieved March 23, 2017 .
  13. ↑ Rio at www.welt.de. Retrieved March 23, 2017 .
  14. ^ Rio at www.metacritic.com. Retrieved March 24, 2017 .
  15. ↑ Rio at www.allmusic.com. Retrieved on March 24, 2017 : “After one listen, it becomes obvious Rio is indeed very special. It puts on aural display Jarrett as a virtually boundless musician, whose on-the-spot, wide-ranging ideas are executed with astonishing immediacy and dexterity; This music is passionate, poetic (often songlike), and stands outside the confines of genre. ... Rio is therefore the new standard by which the pianist's future solo recordings will be judged, and perhaps also sets the bar for any other player who attempts the same. "
  16. ^ Rio at www.theguardian.com. Retrieved March 24, 2017 : "Rio represents Jarrett at his most exuberant."
  17. ↑ Rio at www.popmatters.com. Retrieved March 24, 2017 : “Rio is the most brilliant Jarrett solo recording in recent memory. Rather than improvising in a longer, more rambling form, Jarrett works here in shorter statements, each focused and concise. In 15 very different miniatures, Rio demonstrates the pianist's astonishing facility for generating not only grooves or settings but also developing webs of melody and counter-melody. From free playing to blues to gospel to aching ballads, Jarrett covers a vast landscape of piano. "
  18. ↑ Rio at www.independent.co.uk. Retrieved on March 14, 2017 : "These 15 pieces sketch an entire world of music, colored by the locale, and shifting between the smoothly lyrical and the propulsively rhythmic, with Jarrett's familiar, pulsing left-hand figures providing a stolid foundation anchoring the serpentine runs of his right hand. "
  19. ↑ Rio at www.independent.co.uk. Retrieved March 24, 2017 : "The second of the two discs is a lyrical triumph to equal the Koln Concert, intense drama and emotional catharsis captured through long-haul, improvised performance."
  20. ↑ Rio at Downbeat, quoted from www.ecmrecords.com. Retrieved March 24, 2017 : "Rio is the most astonishingly beautiful album he has made in many years"
  21. ↑ Rio at Jazzwise, quoted from www.ecmrecords.com. Retrieved on March 24, 2017 : "'Rio' is a masterpiece, a jazz recording of such creativity that it is impossible to absorb the enormity of its achievement in one, two or even three auditions."
  22. ↑ Rio in The Times, quoted from www.ecmrecords.com. Retrieved March 24, 2017 : “By the second disc the muse has descended and perched itself on Jarrett's shoulder with pieces that sound more like standards than spontaneous compositions. This culminates in a ballad of heart-on-sleeve loveliness. "
  23. ↑ Rio in the San Francisco Chronicle, quoted from www.ecmrecords.com. Retrieved March 24, 2017 : "Rio stands up with" The Koln Concert "as one of Jarrett's warmest and most impassioned solo recordings."
  24. ↑ Rio at www.allaboutjazz.com. Retrieved March 24, 2017 : "After forty years of spontaneous composition, Jarrett remains a great original, and on" Rio ", his voice is as clear as ever."
  25. ^ Rio at www.telegraph.co.uk. Retrieved on March 24, 2017 : "There are good things here, but nothing especially new."