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────┤ Info ├─────────────────────────────────────────────────────────────────
└────────┘
Artist | Keith Jarrett
Title | Rio
Genre | Jazz Format | Album
Source | CD Time | 90:25
Label | ECM Records Store | 2011
Catalog | 277 6645 Rip | 2021
Bitrate | 508 kbps Size | 344.60 MB
Freq | 44.1 kHz Encoder | FLAC 1.3.1
┌────────┐
────┤ Tracks ├─────────────────────────────────────────────────────────────────
└────────┘
CD 1/2
01. Part I 8:40
02. Part II 6:52
03. Part III 6:00
04. Part IV 4:13
05. Part V 6:25
06. Part VI 7:00
CD 2/2
01. Part VII 7:28
02. Part VIII 4:58
03. Part IX 5:02
04. Part X 5:01
05. Part XI 3:20
06. Part XII 6:09
07. Part XIII 7:03
08. Part XIV 5:40
09. Part XV 6:34
┌────────┐
────┤ Notes ├─────────────────────────────────────────────────────────────────
└────────┘
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 that 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 grounded in the
jazz tradition. He has recorded over 100 albums as a leader in jazz and
classical music. He cut his 1967 debut, Life Between the Exit Signs,
leading a trio with Paul Motian and Charlie Haden.
Rio, the double-disc solo concert recording by Keith Jarrett, marks his
40th anniversary as an ECM recording artist; coincidentally, Facing You,
his debut for the label, was a solo piano recording, though cut in a
studio. Many of Jarrett's improvised solo concerts have represented
benchmarks in his career: The K÷ln Concert, The Sun Bear Solo Concerts, and
La Scala among them. His musical and philosophical approach toward
recording this way has evolved and been refined over the decades, but
nowhere more so than on Rio, a complete document of his show at the Theatro
Municipal in Rio de Janeiro in April of 2011.
The date is a hint that something very different is afoot here: Jarrett's
live offerings are usually issued years after an event instead of mere
months afterwards (the pianist called label boss Manfred Eicher from the
airport after the show. 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.
The strength of his pianism and diversity in his thought and philosophy
between music and everyday life dissolve into the freest improvisation he
has ever displayed on record. In these 15 untitled selections, Jarrett
allows everything from his sense impressions about the city, the country,
cultural and social history, the evening, and the audience to simply have
their way with him spontaneously. The effect is intimate, energetic,
emotionally engaged, and wildly expressive and imaginative. What begins in
the knotty dissonance and counterpoint of the first selection gives way to
the elliptical on the second to something approaching song for the
remainder of disc one's six selections.
By the beginning of disc two, the listener is transfixed as jazz
improvisation melds seamlessly into nearly classical investigations of
detail, harmony, and nuance; simultaneously, folk traditions, blues and
ballad forms, and rhythmic invention are all encased in a pervasive
lyricism that possesses pianist and audience alike. Even music that sounds
"familiar" is based on preconceived notions by the listener, since nothing
approaching what is here actually exists in Jarrett's recorded catalog.
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.
┌────────┐
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└────────┘