With saxophonist Jan Garbarek and bassist Charlie Haden along for the ride, Keith Jarrett indulges in three slow, rambling, meditative, vaguely neo-classical concertos for piano and string orchestra. While a few of Jarrett's and Garbarek's passages here and there have a syncopated jazz feeling, this is mostly contemporary classical music, perhaps even somewhat ahead of its time (it might fit in with the neo-Romantic and minimalist camps today). However, although this music can be attractive in small doses, the lack of tempo or texture contrasts over long stretches of time – particularly the nearly 28-minute "Mirrors" – can be annoying if you're not in the right blissful mood. Mladen Gutesha and the Stuttgart Radio Symphony Orchestra perform the string parts with what can only be described as commendable patience.
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.
Keith Jarrett (born May 8, 1945) is an American pianist and composer who performs both jazz and classical music. …
Jazz pianist Keith Jarrett has recorded Bach before, on both piano and harpsichord. His interpretations are not jazz versions of Bach but are played straight. In this case you might say relatively straight, for Bach's sonatas for violin and keyboard, BWV 1014-1019, were written for a harpsichord and are generally played that way; somehow the ear is jarred more by the piano here than in Bach's solo keyboard music (which Jarrett has also recorded). Jarrett fans will find the evidence of his characteristic style not in rhythmic inflections toward jazz but in his way of sustaining notes, which is never excessive.