keith jarrett leaving again transcription

#Keith jarrett leaving again transcription how to#

This list was triggered by a very interesting thread on a discussion forum I participate in, on Computer Audiophile. And if you don’t, get it now! This one is up there (or at least pretty close) with the Zimermans and Argerichs of this world. So, while I presume you may already have a recording of the Chopin concerti, get this one anyhow. Whatever truth there is to this claim, in any case in this album, soloist and orchestra really complement each other, in a beautiful intensity.

#Keith jarrett leaving again transcription how to#

The orchestra in any case isn’t the highlight of any Chopin concerto recording, many critics over the last one and and a half centuries dismissed it as mere “background” and claimed that Chopin didn’t know how to orchestrate. I’m very happy to see we’re finally getting more female conductors! Let’s watch her career closely. One of the reasons is simply that she’s only 33, a very young age for a conductor. With the exception of a few recordings from the Neeme Järvi time this orchestra had never made it into my library.Īnd this album cover was the first time I’d ever heard of Elim Chan. I must admit I didn’t know what to expect from the Royal Scottish National Orchestra. He plays with the melody, keeps it singing all the time.

Here you really hear what an exceptional pianist Grosvenor is. One of the favourite pieces of the first movement starts from the 10 min mark. But here with Grosvenor even the 1st and 3rd movements are highly enjoyable. They are obviously the true peak of these works. I must admit in the past when listening to the Chopin concertos I often skipped directly to the 2nd movements only. So far, my favorite versions of these were the great classics (Zimerman and Argerich), so do I agree with the praise this album got? Chopin Piano Concertos – Benjamin Grosvenor – Elim Chan – Royal Scottish National Orchestra (Decca 2020) So was Gramophone (Editor’s Choice March 2020), and the French magazine Diapason, who gave a Diapason d’or, their highest rating. So, obviously when he recently released the Chopin piano concertos, I was all ears. I’ve even listed him in my Top 10 Classical Pianists, and he’s also featured in My Top 10 Chopin Albums. I pretty much recommend every single one of his albums (see here or here for examples). But what an amazing trajectory he’s already had. Finally, it’s nearly impossible to describe, much less transcribe or attempt to practice, Paul’s performance on “Tuesday Ends Saturday,” recorded on my favorite solo album of his, “Tribute,” other than to say it’s magical.įor additional examples of Paul’s cliche-free approach to playing rock, compare also Paul’s playing on “Mourning of a Star,” “The Rich (And The Poor),” “Encore-a,” and most of Leni Stern’s album “The Next Day,” transcriptions of which appear elsewhere on this blog.Benjamin Grosvenor is still only 27. Listening more closely to the character of the music, there are subtle differences in the character of the two compositions, and the variation in Paul’s approach is being dictated by those differences. The third transcription is the title tune from Jarrett’s 1974 album “Treasure Island.” As the feel and tempo of the tune are quite similar to “The Magician In You,” it’s interesting that Paul’s playing is altogether different. Paul’s sparse, broken timekeeping is not only in character with the tune, but also leaves space for Airto to fill with the conga drum. The 2nd transcription, “The Magician In You,” is from the Jarrett Album “Expectations,” recorded in 1972.

You can hear him playing variations of this groove on tunes like “Le Mistral” in 1974, and “Sandino” in 1990. The type of groove Paul creates here is probably the closest to a cliché of his (although, it is his own). The first is from the Keith Jarrett album “Somewhere Before,” with the trio performing the Bob Dylan tune “My Back Pages” in 1968. As a result, he rarely plays any clichés, including any of his own.Ĭomparing Paul’s various approach to playing rock grooves with each other provides some examples of this. I always have the impression that the music around him, including the specific nature of the specific composition he is performing, is dictating the “what” of what he plays. This organic aspect of Paul’s drumming is one of the things that I love the most. Once, when attending a lecture of Paul’s, I remember him saying that each time he sits down at the drums, he tries to approach the music as if he’s playing them for the very first time.