Track Listing

Disc 1:

1. Part 1
2. Part 2
3. Part 3
4. Part 4
5. Part 5

Disc 2:

1. Part 6
2. Part 7
3. Part 8
4. Part 9
5. Part 10
6. The Good America
7. Paint My Heart Red
8. My Song
9. True Blues
10. Time On My Hands

Product Details

• Amazon Sales Rank: #18646 in Music
• Released on: 2006-09-26
• Number of discs: 2
• Format: Live

Album Description
Keith Jarrett is nothing less than a living legend. Audiences flock to his rare performances in the world’s finest concert halls, and it is his unique ability to create music in the moment that has made him most famous – his spontaneous improvisations often sound as if they’ve been carefully composed over time. His 1975 album, The Köln Concert, catapulted him onto the world stage, and – at 4 million copies and counting – is the best-selling solo piano recording of all time. In 2005, Keith Jarrett played his first US solo concert in a decade on the stage of Carnegie Hall, America’s most celebrated venue. One year later to the day, this electrifying night of music will be released.

Amazon.com
Since being afflicted in the late '90s with chronic fatigue syndrome, which kept him on the sidelines for several years, Keith Jarrett has had to reinvent himself as a performer. It's no slight on his classic live recitals of the past to suggest that has proven to be a fruitful development. In moving away from his long, inwardly streaming, lyrically sustained works and adopting a more easygoing episodic approach, he has become more accessible (and less windy) without sacrificing intensity or the freedom to draw upon all manner of styles including blues, gospel, and Americana. Recorded in 2005, The Carnegie Hall Concert features a 10-part piece that runs a gamut of moods and emotions. The enjoyable encore portion consists of three new originals, including a standard, "Time on My Hands," and a rare, enthusiastically received Jarrett oldie, "My Song," from the '70s. This is the 61-year-old artist's 25th solo album for ECM--most in a jazz genre but some classical, most on piano but some on organ and harpsichord and even wind instruments. It leaves you looking forward to number 26. --Lloyd Sachs 

About the Artist
From Wikipedia, the free encyclopedia - Keith Jarrett (born May 8, 1945 in Allentown, Pennsylvania) is an American pianist and composer. His career started with Art Blakey, Charles Lloyd and Miles Davis. Since the early 1970s he has enjoyed a great deal of success in both classical music and jazz, as a group leader and a solo performer. His improvisation technique combines not only jazz, but also other forms of music, especially classical, gospel, blues, and various ethnic-folk musics. Solo piano - Jarrett's first album for ECM, called Facing You (1971) was a solo piano date recorded in the studio. He has continued to record solo piano albums in the studio intermittently throughout his career, including Staircase (1976), The Moth and the Flame (1981), and The Melody At Night, With You (1999). Book of Ways (1986) is a studio recording of clavichord solos. The studio albums are modestly successful entries in the Jarrett catalog, but in 1973, Jarrett also began playing totally improvised solo concerts, and it is the voluminous recordings of these concerts that have made him one of the best-selling jazz artists in history. Albums recorded at these concerts include: Solo Concerts (Bremen/Lausanne) (1973), originally released as a three-LP set, The Köln Concert (1975), one of the best-selling jazz albums of all time, Sun Bear Concerts (1976), five complete Japanese concert recordings, originally released as a ten-LP set, Concerts (Bregenz/München) (1981), originally released as a three-LP set, only the Bregenz concert is included on the single CD release. The München concert (more than an hour and a half long) has not yet been reissued on CD, apart from a ten minute section on the :rarum collection which was compiled by Jarrett himself. According to the ECM website however, a reissue is in the works. Paris Concert (1988), Vienna Concert (1991), which Jarrett has stated is his finest solo concert recording and La Scala (1995). Jarrett has commented that his best performances were during the times where he had the least amount of preconception of what he was going to play at the next moment. A possibly apocryphal account of one such performance had Jarrett staring at the piano for several minutes without playing; as the audience grew increasingly uncomfortable, one member shouted to Jarrett, "D sharp!", to which the pianist responded, "Thank you!," and launched into an improvisation at speed. Another of his solo concerts, Dark Intervals (1987, Tokyo), is not so much a freeform improvisation but more a set of recited compositions, making it a very separate entity to the concerts listed above. In addition to the different form, it lacks the jazzy verve associated with the above concerts, preferring to go down a gloomier, more moody path. In the late 1990s, Jarrett was diagnosed with chronic fatigue syndrome (CFS) and was confined to his home for long periods of time. It was during this period that he recorded The Melody at Night, With You, a solo piano record consisting of jazz standards presented with very little of the reinterpretation in which he usually engages. The album had originally been a Christmas gift to his wife. By 2000, he had returned to touring, both solo and with the Standards Trio. Two 2002 solo concerts in Japan, Jarrett's first solo piano concerts following his illness, were released on the 2005 CD Radiance (a complete concert in Osaka, and excerpts from one in Tokyo), and the 2006 DVD Tokyo Solo (the entire Tokyo performance). In contrast with previous concerts (which were generally a pair of 30-40 minute continuous improvisations), the 2002 concerts consist of a linked series of shorter improvisations (some as short as a minute and a half, a few of fifteen or twenty minutes). In September 2005 at Carnegie Hall Jarrett performed his first solo concert in North America in more than ten years, released a year later as a double CD set (The Carnegie Hall Concert).

Customer Reviews

This CD is mostly for Keith and those who were there...
For me, Keith Jarrett music evokes a very strong feeling...eternal longing, hope, discovery, sadness and regret.

When I drove those 10 hours with my friends to see Keith play at Carnegie Hall, I longed to hear his music and experience those emotions, to be sure, but I also wanted to be there in the same room with him--to tell him what his music means to me. When I got there, it seemed to me that everyone who was there had that same desire.

We all know Keith's story, we have been moved by his many recordings--the man has nothing to prove anymore. And we have also seen his physical vulnerablilty these past 12 years, and it's frightening to think that his hands may cease to play one day.

So when you hear that applause, so rapturous, so unconditional--it is for the man as much as the music...a rare moment for the North American audience to thank the 'solo' Keith Jarrett for his solitary dedication to the muse and his unwavering pursuit of truth in art.

By sending this recording back to us with all the roaring(that's me on the CD!) and clapping included, Keith has made it clear that this is a document to be shared by those who were there, and by those who wished they were.

Recording ruined by interminable applause
I've never understood why record producers think we want to hear minutes of applause in live recordings. This recording takes this to an absurd level at times, so that we are not only subjected to the irritation of seemingly interminable applause after a piece, but following the much-hoped-for silence preceding the next piece we get... more applause, then silence, then a bit more applause. For me it makes for an unpleasant listening experience, one I don't like to repeat often. If you like long sections of applause, though, you'll want to play it over and over.

poser
On this album Jarrett thinks he's being avant-garde by aping music that hasn't been avant-garde in 40 years. Much of the music on this disc is nothing less than a sonic rip off of what Boulez and Berio were doing in the 60s, but without any of the highly developed and extremely sophisticated structural and developmental elements that make that music great. He doesn't even understand what he's quite lamely attempting to emulate. It's ersatz and quite embarrassing really, especially for someone of Jarrett's supposed musical sophistication.