Word: jazze
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Dates: during 1990-1999
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...expansion of the 19th century reversed in the 20th. Jazz, swingrock, pop eclipsed classical as the dominant musical form in Europe and elsewhere, despite the growth of recorded media. Classical music lacking spectacles and stars, again became the domain of aristocrats and intellectuals...
ONSTAGE, KEITH JARRETT belies his cerebral, prickly reputation. Swept up in the trancelike flow of his jazz improvisations, he levitates from the piano stool like Jerry Lee Lewis, head thrust back and howling with pleasure. Beneath his fluid fingers, the keyboard ripples spontaneously, spinning out an endless series of riffs and variations, while his lyrical bassist, Gary Peacock, and elegant drummer, Jack DeJohnette, match him move for move. Heads nod approvingly as the melody is handed off from instrument to instrument, three men doing what they love best: making music with hand and heart...
...once and future enfant terrible at the top of his form and, perhaps, the peak of his career. In addition to performing live concerts in seven cities, Jarrett, 50, is simultaneously releasing a six-CD set, Keith Jarrett at the Blue Note, featuring his trio's nuanced performances of jazz standards. His "classical" repertoire, moreover, encompasses music from Bach to Bartok; last summer he performed a Mozart piano concerto with the Boston Symphony, and he has just released a disc of suites for keyboard by Handel. Always a difficult composer to pigeonhole--he is scornful of minimalism, which his music...
Instead, Jarrett, who also plays the saxophone, recorder, drums and numerous other instruments, chose a year of jazz study at the Berklee College of Music in Boston and then apprenticed himself to a series of cold-water flats and smoky New York City jazz clubs. He got a break in the mid-1960s by sitting in with saxophonist Rahsaan Roland Kirk; that was followed by gigs with Charles Lloyd and Miles Davis and eventually a solo career, encouraged by German record producer Manfred Eicher, who recorded the young Jarrett on the fledgling ECM label in 1971, and has produced...
...music. He ended his preface to the first set with some comments on the past few weeks on the road, offering a somewhat elusive remark about how this had been the "antebellum" tour, at times more similar to 1795 than 1995. What Marsalis may have been alluding to was Jazz at Lincoln Center's unfortunate tendency to attract race-based criticisms. Despite his nearly evangelical commentaries, Marsalis allowed nothing to take precedence over the music...