【Keith Jarrett Trio - Somewhere】(2013) ★★★★★★★★★★

(English follows Japanese)

 

My Favorite Album (381)

 

間違いではありません。★10個です(笑)

 

2009711日、スイスのKKL Luzern Concert Hallでのコンサートを収録したKeith Jarrett Trio(以下、KJT)結成30周年に当たる今年にリリースされた特別な作品。

 

以下、項目別にコメントとRatingを記します

 

 

【選曲】 ★★★★★(5/5点)

 

いつもながら最高の選曲です。日本人企画のCDに入っている甘ったるいStandard曲ではなく、「隠れ名曲」「Musicians Standards」を厳選しています。

 

ご参考までに、ここでKJTが取り上げた曲の過去の代表的な名演(単なる私の好みです)を挙げておきます

 

(M1) Solar

Bill EvansChick CoreaLee Konitz, Brad MehldauTete MontoliuRoy HaynesBrad Mehldau等、挙げだしたら切りが無いです!

 

(M2) Stars Fell on Alabama」(「アラバマに星堕ちて」)

Ella Fitzgerald and Louis ArmstrongBillie HolidayCannonball AdderleyStan Getz

 

(M3) Between Devil And The Deep Blue Sea

Kenny DrewGerry MulliganElla FitzgeraldSonny Stitt

 

(M4) Somewhere

Jim HallMike Mainieri(故Michael Breckerのプレイに感涙)、Tierney SuttonVijay IyerWarren Bernhardt

 

(M5) Tonight

Ramsey LewisTommy FlanaganStan Kenton Orchestra

 

(M6)I Thought About You

Miles DavisTerence BlanchardJonathan KreisbergSteve KuhnCarol WelsmanGuido BassoCarl FontanaDon FriedmanBranford Marsalis

 

最高の選曲ですね!

 

 

【各曲の演奏のQuality ★★★★★(5/5点)

 

(M1) Deep Space / Solar

 

CDをスタートさせると、KeithSolo PianoによるImprovisation、“Deep Space”が始まります。不協和音の連続で、雰囲気としては”Dark Intervals (1988) 1曲目”Opening”のような感じ。一瞬「このライブは割りとダークでフリーな演奏に終始したのだろうか?」と不安に駆られました。しかしそれは杞憂でした。「ダーク」だったのではなく、良い意味で「重厚」でした!

 

Tempo RubatoのままルートCを響かせてゆっくりと Solar」のテーマに入って行きます。非常に大胆なRe-harmonizationです。いや、これはもう「コード名で記譜されるJazzの和音」と云う縛りを遥かに超えて、Keithが常々「自宅でよく聴いている」と発言しているRavel DebussyJacques IbertCharles Griffesのハーモニーに近いですね。 KeithOne & Only且つ天才的な和声アイデア(とにかく美しい!)でハーモニーを付けながら一音ずつ丁寧に1コーラスを弾き切ります。次にIn Tempoになり、左手の”Solar”のテーマと右手のCounter Melodyを交錯させていきます。Brad Mehldauの得意技ですがちょっと次元が違いますね。単旋律(途中時々2声・3声になる)でのCounter Melodyが「別の1曲の美しい曲」くらいに完成度が高いです。そして左手でルートCを叩いてCmの和音とテンポを提示すると、すぐにGaryJackが反応して入って来ます。もうゾクゾクします。

 

テーマに入ると更にKJTCreativityが発揮されます。通常Pianoだけが弾くことが多いテーマ部分を、KeithGaryがメロディーとImprovised Soloを交錯させて進行します。そして、Melodicで巧みなシンバルワークや、Breakを入れてアクセントを付けたりしてPushするJackのアイデアも素晴らしい!Bill EvansScott LaFaroPaul Motianの関係のようです。

 

そしてハイライトは、そこから始まるKeith6分間に亘るImprovised Solo。このSoloの凄さと云ったらもう!とにかくこの日のKeithImprovised Soloは「神懸かった」と形容してもいいほどに凄いです。所謂「降りてきている」状態ですね。恐ろしい程にCreativeで美しいフレーズ(アイデア)が怒涛の如く溢れ出て来て止まらない。Keithが普段はあまり多用しない、物凄いテクニック駆使した超速弾き(勿論「テクニックのひけらかし」ではなくちゃんと「歌って」います)までもが次々に飛び出します。もうこのSoloだけで「名演」!絶好調です!

 

続いてGarySoloに入り、そのまま静かにEndingを迎えます。私は典型的なPiano Trioの進行:「Melody (Piano)」→「Piano Solo」→「Bass Solo」→「PianoDrums8Bars4Bars」→「Melody (Piano)」→「Ending」と云う「お約束」があまり好きではない(「アイデア」「Creativity」が感じられないから)ので、ここでの3人の終わり方も素晴らしく感じました。

 

(M2) Stars Fell on Alabama

 

一転してKeithの(無伴奏)Solo Pianoにより美しいテーマが提示されます。続くImprovised Soloも併せて、ここでのKeithは敢えて原曲に忠実に一音一音丁寧に弾くことにより、この曲が持つ美しいメロディーとハーモニーを際立たせています。続くGarySongfulSoloは「そのまま美しい1曲が出来上がる」くらい完成度が高いです。Garyがまさに「現代Jazz Bassの最高峰の一人」であることを証明しています。

 

(M3) Between Devil and the Deep Blue Sea

 

Keithのストライドピアノで楽しく幕を開けるこの曲は、所謂、「”Exhilarating Ride Medium Tempo」(ウキウキするような中庸なテンポ)で演奏されます。Keithのソロもリラックスして楽しんでいますね。Garyのソロを挟んでJackとの8Barsに入ります。常々感じているのですが、JackDrums Soloには「メロディー」が聴こえます。「打楽器を叩いている」というよりは「メロディー楽器を演奏している」かのようなフレーズです。Jack自身が優秀なPianistであり、演奏するすべての曲のコード進行を理解した上でDrumsを演奏していることに基因しているのでは、と思います。

 

(M4 - 1) Somewhere

 

Jim Hallの名演で知られるこの曲を、Keithは低音域から高音域まで広く使って壮大に演奏します。こちらも原曲重視で敢えて複雑にはしていません。「優れたStandard Jazz Numbersが持つ美しさを壊さない」と云うKJTの美学を感じます。

 

(M4 - 2) Everywhere

 

Somewhere”から切れ目なく、Keithのオリジナル曲、と云うよりは3人の即興演奏的色合いの濃い”Everywhere”に入っていきます。B7一発、Mezzopianoから入って最後にはゴスペル・リズムで3人が強力にFortissimoGrooveする様は圧巻です!

 

(M5) Tonight

 

冒頭からアップテンポで3人が鮮やかに疾走します。KeithLeonard Bernsteinが書いたこの美しいメロディーを実に丁寧に弾いています(どの曲でもそうですが)。この「原曲のメロディーを丁寧に演奏する」=「原曲の良さを損なわない」ことがKJTのひとつのPropositionなのだと思います。Jackのワンコーラスのソロは相変わらず「歌って」います!

 

(M6) I Thought About You」※

 

上述のように数多の名演があるこの曲。ここでもKeithStraight Headな演奏に終始します。と言っても当然のことですが「一瞬聴いただけでKJTとわかる」OriginalityCreativityが横溢しています。KeithGaryJackVoice(音色)があまりに美しいので、変に手を加えなくても、いや、加えない方がJimmy van Heusenが書いたこの曲の素晴らしさが伝ってきます。

 

インストなのにJohnny Mercerの歌詞(↓)までもが聴こえてくるような、Romanticな演奏で幕を閉じます。

 

『僕は汽車に乗って旅に出た、なのに君のこと考えている、線路が日陰を通り抜けると、また君のことを想っていた。汽車が駅にしばらく止まる、すると君のこと考えている。シェードの隙間から覗くと、反対方向への線路が見えた、そのときどうしたと思う?、また君のことを考えたんだ』

 

※邦題『君のことばかり』。1939年ベニー・グッドマン楽団のヒット曲

 

 

 

【音質】 ★★★★★(5/5点)

 

極上です!

 

このTrioの作品は、Reverbの掛け過ぎで演奏がはっきりと聞き取れないもの(特に初期)や、あまりにもDead過ぎるものもありますが、このアルバムは実に良くそのバランスが取れています。私はこの作品の音質がこれまでのTrio作品でBestだと思います。

 

音質の事を書くときには使用機材を書くルール(?)になっているようなので Wayne Shorterの新譜のReviewの処でそんな話しが出ていました) 記載しておきます。

 

(使用Audio Set

Loudspeaker: JBL4365

CD Player: ESOTERIC K-03

Pre-Amplifier: McIntosh C50

Power Amplifier: McIntosh MC452

 

 

 

【総評】 ★★★★★(5/5点)

 

このアルバムが「最高!」である一番の要因は

 

Keithが絶好調!』

 

であることだと思います。

 

ピアノの技術そのものも現代のJazz Pianistで最高峰のKeithですが(子供の頃Classic Pianoのレッスンを受けて、今はJazz Pianoを演奏する私自身もそう感じますし、Chick Coreaも幾度となくそう発言しているので、そう言い切ってしまっていいでしょう)、上述したように、とにかくこの日のKeithImprovised Soloは「神懸かった」と形容してもいいほどに凄いです。私なんぞがここで偉そうに云うまでもなく、Improvised Soloは「瞬間作曲」(頭に浮かんだフレーズを瞬間的に演奏している。もちろん出鱈目ではなく楽理に基づいて)であるワケなのですが、この日のKeithの充実ぶり、「神懸り」ぶり、Creativityは、このTrioCDの中では、あの「The Koln Concert」で見せた集中力に一番近いのでは、と「私は」思いました。もちろん100人のAudienceがいれば100通りの意見があると思います(そこがまたJazzという音楽の面白いところですね)。

 

この日の3人の体調の良さ、集中力の高さと深さ、エネルギー・レベルの高さ、(調音・整音も含めた)楽器(Piano)の良さ、ホールの響きの良さ、聴衆の反応の良さ、という数々の好条件が偶然に重なって、この奇跡的な演奏を齎(もたら)したのだと感じます。各曲たっぷりと時間を使っていますが (下記のTrack Listをご参照ください)、とにかく演奏が物凄く充実しています。自然と1曲の演奏時間が長くなった(終わるのが惜しい) という印象です。全部で75分間という短めのコンサートだったそうですが、3人共に「もうこれ以上は無理」 くらいに精神的・肉体的エネルギーを使い果たしていると感じます。CDを聴いているこちらも演奏に深く入り込んでいるうちにあっという間に時が過ぎていきます。

 

全体の感想ですが、いい意味での「重厚さ」「渋さ」が全体の演奏を支配していて、「Keith Jarrett Trioが更に成熟している!」と驚きました。このTrioの「CD化されたコンサート(「CDの発売年」ではなく「コンサートの日付」)」としては、2002716日、フランスのFestival de Jazz d' Antibesでの演奏を収録した"Up For It"以来7年振りのCDとしてのお披露目ということになります。その間アメリカで2回、日本で3回コンサートを観ましたが、このコンサートはそのどれよりも抜群に出来が良いです!奇跡的に良いです!

 

 

KeithManfred Eicherが永い年月を掛けてこの日の演奏をCDにすることを選んだ理由がとてもよくわかりました。本当に素晴らしいコンサート(CD)です。今6回目を聴いていますが「Disk 2」が欲しい!2枚組みにしてコンサートの全部を収録して欲しかった!

 

既に私の中ではこれまでのTrio作品の中で一番好きな作品になってしまいました(と、毎回思ってしまうのですが(笑)

 

本当に素晴らしい!

 

10個でも足りません!

 

死ぬまでに10,000回聴きたいです!

 

Keith (67)Gary (77)Jack (71) と、3人の年齢の事もあり、段々と活動を縮小していくのでしょうか

 

寂しいなぁ

 

 

【困ったこと】

 

コレを聴いてしまうと、他のMusicianPiano Trio作品を聴く気になれない。何とか聴こうとするのだが、やっぱりコレを聴いてします。もう40回聴いた。助けてくれ~!

 

 

(Personnel)

Keith Jarrett (Piano)

Gary Peacock (Double Bass)

Jack DeJohnette (Drums)

 

(Track List)

1Deep Space (Keith Jarrett) / Solar (Miles Davis) (15:07)

2Stars Fell On Alabama (Frank Perkins) (7:27)

3Between Devil And The Deep Blue Sea (Harold Arlen / Ted Koehler) (10:03)

4Somewhere (Leonard Bernstein / Stephen Sondheim) / Everywhere (Keith Jarrett) (19:37)

5Tonight (Leonard Bernstein / Stephen Sondheim) (6:49)

6I Thought About You (Jimmy van Heusen / Johnny Mercer) (6:30)

 

Recorded live July 11, 2009 at KKL Luzern Concert Hall, Switzerland

 

An unofficial website - Keith Jarrett

http://www.keithjarrett.it/lang/it/keith-jarrett/discography/standards-trio/somewhere/

 

Facebook

https://www.facebook.com/keithjarrettsolo?ref=ts&fref=ts

 

https://www.facebook.com/pages/Keith-Jarrett/112509832094169?fref=ts

 

Review

Now in its 30th year, the Keith Jarrett Trio is widely considered, as the NY Times recently remarked, to have set the gold standard for jazz groups, and this sparkling concert recording from 2009 is issued to mark a milestone anniversary. The Somewhere in which the Standards trio find themselves is Lucerne, Switzerland with a performance both exploratory and in-the-tradition. The Neue Zurcher Zeitung headlined its review of the show Kontrollierte Ekstase controlled ecstasy an apt metaphor for a set that begins in improvisational Deep Space modulates into Miles Davis Solar, soars through the standards Stars Fell On Alabama and Between The Devil And The Deep Blue Sea and climaxes with an extended romp through West Side Story, as Bernsteins Somewhere and Tonight are bridged by the freely associative Jarrett original Everywhere.

 

Bio

Pianist, composer, and bandleader Keith Jarrett is one of the most prolific, innovative, and iconoclastic musicians to emerge from the late 20th century. As a pianist (though it is by no means the only instrument he plays) he literally changed the conversation in jazz by introducing an entirely new aesthetic regarding solo improvisation in concert. Though capable of playing in a wide variety of styles, Jarrett is deeply grounded in the jazz tradition. He has recorded nearly 80 albums as a leader in jazz and classical music. And he has won the Down Beat Critics Poll as a pianist numerous times — including consecutively between 2001 and 2008.

 

Jarrett was born May 8, 1945 in Allentown, Pennsylvania. At the age of three he began playing piano. He undertook the study of classical music at age eight, and at 15 he studied formal composition before moving to Boston to study briefly at the Berklee College of Music. Still in his teens, Jarrett intended to further his academic work in Paris before deciding to move to New York in 1964 and become a jazz musician.

 

He entered the city's vibrant scene by sitting in with veteran and aspiring players at clubs — including the Village Vanguard. His first touring gig was with Art Blakey's New Jazz Messengers, where he remained until 1966. The lone recording with that band which also featured trumpeter Chuck Mangione — was Buttercorn Lady, recorded live at the Lighthouse in Hermosa Beach. Jarrett joined Charles Lloyd's famed quartet in 1966. That band, which reflected the variety of changes taking place in jazz and popular music in general, achieved global success as both a recording and touring entity.

 

He left the group in 1968 and issued his first solo recording, Restoration Ruin, on the Vortex label. He played everything on the album including soprano saxophone, harmonica, drums, and guitar in addition to piano; he even sang. The album is considered mainly as a curiosity in his catalog because it wasn't a jazz album, but a folk-rock recording. Regardless of how Jarrett regards it today, it stands as a brave undertaking from a young musician and paints an interesting view of his early thoughts in lieu of what he would accomplish later. Appearing the same year, he recorded Life Between the Exit Signs for Atlantic, where he led a trio whose rhythm section consisted of bassist Charlie Haden and Paul Motian. This group — later a quartet with the addition of saxophonist Dewey Redman — would record together for 11 years and attain the status of jazz legend for their dynamic, groundbreaking interplay and improvisation.

 

Jarrett played organ and electric piano with Miles Davis between 1970 and 1971, which resulted in Live at the Fillmore and Live/Evil. His work with Davis would also surface on the trumpeter's 1974 album, Get Up with It, and was beautifully documented on the box set Miles Davis: The Cellar Door Session 1970, which was issued in 2005. Jarrett also appeared on other artists' albums during the period, including Airto's Free, psychedelic pop duo Barbara & Ernie's Prelude To..., and soul singer Donal Leace's self-titled offering from 1972. Jarrett and Gary Burton issued their self-titled recording on Atlantic in 1971, the same year his trio released The Mourning of a Star.

 

The pianist briefly signed to Columbia, releasing one enduring album for the label, Expectations, in 1972 — an album that featured his trio, guitarist Sam Brown, and Airto. The year also proved fruitful for two other reasons. The first was Facing You, Jarrett's first solo piano recording for Manfred Eicher's young ECM label, an association that would become symbiotic by the end of the decade. As previously mentioned, Redman joined Jarrett's group in late 1971, and the first offering by the larger band was Birth, issued by Atlantic in 1972. The band also recorded for Impulse! during this time, issuing the highly regarded Fort Yawuh (1973), Treasure Island (1974), Death and the Flower and Backhand (1975), Mysteries (1976), ByaBlue (1977), and Bop-Be (1978). El Juicio (The Judgement) also appeared on Atlantic in 1975.

 

Jarrett's horizons were broadening considerably in the early '70s, and his association with ECM was deepening. While 1972 saw the release of Ruta and Daitya, a duet album with Jack DeJohnette, 1973 offered evidence of what would become iconic in the decades to come: the improvised Solo Concerts: Bremen & Lausanne. In 1975, Jarrett's double live solo piano album The Köln Concert was released; its warmth, accessibility, and immense and enduring popularity have made it the best-selling solo piano recording in jazz history. His other solo piano works for ECM include Staircase, the ten-album Sun Bear Concerts, Moth and the Flame, Concerts, Paris Concert, Dark Intervals, Vienna Concert, La Scala, Carnegie Hall Concert, and Rio.

 

Jarrett began recording with a European group in the '70s, the second of his three groups that would become legendary. His European quartet included saxophonist Jan Garbarek, bassist Palle Danielsson, and drummer Jon Christensen; their debut, Belonging, appeared in 1974. Simultaneously, Jarrett remained busy with his American quartet and with recording experimentation. In the Light, which was released in 1974, was a double album that showcased his interest in composing modern classical music. His compositions were wide-ranging; among them were a string quartet, a brass quintet, and "Crystal Moment (Piece for Four Celli and Two Trombones)." He also recorded a pair of albums co-led with Garbarek, Luminescence (1975), where the pair were aided by an orchestral string section, and the popular Arbour Zena, which included Haden on bass as well as chamber strings. In 1976, the provocative Hymns/Spheres, a double album of improvisations played on an enormous 18th century organ in the Benedictine Abbey Ottobeuren, appeared on ECM.

 

The pianist's European quartet issued My Song in 1978, an album that brought more conservative jazz fans back to Jarrett's table, especially as it was surrounded by the releases of Bop-Be and The Survivor's Suite, the first of two releases by his American quartet to appear on ECM. That band's final album together, the live double album Eyes of the Heart, was released in 1979.

 

Jarrett kicked off the '80s with Celestial Hawk: For Orchestra, Percussion and Piano, recorded at Carnegie Hall. This work wed his instinctual improvisational discipline on the piano to his formal compositional abilities in both vanguard classical music and jazz. That year, his European quartet also released the live Nude Ants — recorded at the Village Vanguard — and Sacred Hymns, a solo piano album of compositions by metaphysical philosopher/musician Georges Ivanovitch Gurdjieff.

 

In 1983, Jarrett began working in a trio with bassist Gary Peacock and drummer Jack DeJohnette. It was the beginning of an association that has lasted three decades thus far. Their initial session produced three albums: Standards, Vol. 1 and Vol. 2, and Changes (the last a set of free improvisations). Throughout the decade they alternated between recording standards and freely improvised sets, among them 1986's Standards Live and 1989's Changeless.

 

Jarrett also cut two deeply personal albums in the '80s. In 1986, Spirits, a double album, featured him playing piano, flute, recorder, soprano saxophone, guitar, and percussion. Another double, Book of Ways from 1987, was completely performed on the clavichord.

 

In 1988, Jarrett began recording canonical classical music. His first release was Bach's Das Wohltemperierte Klavier Buch I, followed by his Goldberg Variations the following year. But he hadn't abandoned jazz. Jarrett closed the decade with records by his European quartet in Personal Mountains, and by his American trio with Changeless, in 1989.

 

While his first album of the '90s was the solo Paris Concert, the trio was also busy touring. They stopped briefly to record Bye Bye Blackbird in 1991 as a memorial to Miles Davis. That said, Jarrett spent most of the decade's first half recording classical music. These albums included collections of Handel and Bach sonatas — both with Michala Petri playing recorder: his award-winning Shostakovich: 24 Preludes and Fugues Op. 87 in 1992, Bach's French Suites in 1993, and the composer's 3 Sonaten für Viola da Gamba und Cembalo with violist Kim Kashkashian in 1994. He also recorded W.A. Mozart Piano Concertos K. 467, 488, 595 Masonic Funeral Music K. 477 & Symphony in G Minor K. 550 with conductor Dennis Russell Davies and the Stuttgart Symphony, which remained unreleased until 2004.

 

At the Deer Head Inn with Peacock and DeJohnette also appeared in 1994. A six-CD box set entitled Keith Jarrett at the Blue Note: The Complete Recordings, was released in 1995, documenting a three-night stand by the trio in June of 1994.

 

While on tour with the trio in Europe during 1996, Jarrett became ill with what was diagnosed as chronic fatigue syndrome. He battled the disease — caused by an infection from parasitic bacteria — for three years. While he recovered, ECM issued the 1995 solo concert La Scala in 1997, as well the trio document Tokyo '96 in 1998. During his illness in 1997, Jarrett gathered his strength and recorded the intimate Melody at Night, with You, in his home studio. It is a solo piano offering of short, straightforward interpretations of standards, ballads, folk songs, and a lone original; it is the most intimate recording in his oeuvre, and unlike anything else in his catalog. The album was released in 1999, the year he had recovered enough to begin touring again with his trio. Jarrett's first release of the 21st century, in fact, was Whisper Not, a collection of standards recorded on that tour.

 

Over the next four years, the trio toured and recorded shows. ECM issued several albums from them, including standards recordings such as Up for It and The Out of Towners, as well as Inside Out and Always Let Me Go — the latter two shows consist of freely improvised music. In 2007, My Foolish Heart: Live at Montreux appeared, commemorating the trio's 25th anniversary. The stellar solo piano effort The Carnegie Hall Concert, wherein the pianist created new rules for himself as a live improviser, also appeared that year. In 2008, The Cure was released. It was a prime live standards gig by the trio from 1990 that had been sitting in the vault.

 

In 2009, the Paris/London solo concerts appeared, followed in 2010 by a duet recording between the pianist and Haden entitled Jasmine. In 2011, the aforementioned Rio was released shortly after the concert took place — an anomaly in Jarrett's career. In 2012, ECM once more dug into its vaults and released Sleeper: Tokyo, April 16th, 1979, a stellar vintage date by Jarrett's European quartet.