Jarrett brings to his Mozart repertoire steadiness of interpretation and relaxation that may surprise listeners who know him mainly for the adventurousness and quirks of his celebrated marathon solo recordings. A jazz pianist performing classical music might be expected to take rubato liberties. Jarrett does not. His reading of the magnificent pre-Romantic D-minor concerto No. 20, K. 466, employs effective dynamics without extremes in the direction of Arthur Rubenstein's daring and exuberance in the rondo, Mitsuko Uchida's mystique behind the beat in the romance movement or Clara Haskil's blurred articulation at the piano entry in the allegro.
Splitting his time between the electric and acoustic pianos and a bit of organ, Jarrett teams up with drummer/percussionist Jack DeJohnette in a series of experimental duets, his only electric session for ECM. The all-acoustic title number ranges all over the lot, from tootling on a bamboo (?) flute to the energizing barrelhouse gospel riffs that would bloom in the solo concerts.
Keith Jarrett's numerous volumes of improvised solo piano recordings are all treasure troves of spontaneous music making. Documented since the 1970s, they reveal the opening of his music as it readily embraces classical and sacred music influences, filters out what is unnecessary in his technique, and encounters the depth and breadth of the jazz tradition and his own unique abilities as a composer. The four discs in A Multitude of Angels were recorded in as many Italian cities during the last week of October 1996 – some 20 months after the concert captured on La Scala.
Pianist Keith Jarrett goes it alone on The Melody at Night, With You. No stranger to solo recitals, here Jarrett tackles familiar standards along with a few traditional pieces and as we come to expect, the performances are near flawless. Part of the beauty and majesty of it all lies within Jarrett's penchant for understatement and ebullience while possessing an astounding sense of depth and range. Throughout this recording, Jarrett has seemingly decided to forego any semblance of dramatics as he vividly sets the scenario for the listener along with the partner of his or her choice as they may sit in front of a soft burning fire under dim lights.
In 1973, Jarrett began playing totally improvised solo concerts, and it is the popularity of these voluminous concert recordings that made him one of the best-selling jazz artists in history. Album 'The Köln Concert' (1975), which became the best-selling piano recording in history.