I’ve never heard them before - this is nice. I think they sometimes play left vs right channel just a little too much on this album. I have good soundstage on my current chain, and it seemed gimmicky. But they are quite good, and it’s only occasional. I do detect various amounts of reverb applied to different electronic voices. Gives a quite three-dimensional effect.
Musically, I like where they are coming from, but I have such a soft spot for early 80s jazz fusion that this certainly tips it’s hat to.
Keith Jarrett, Bordeaux Concert. It says 2022. I usually give a song whip link, but I happen to be listening and on the iPad to Fii0 K9 Pro ESS to Rosson RAD-0, and the neighbor who does woodworking finally finally stopped using his bench saw.
I saw Jarret once. Very good. In the SR-1a thread, @MokhaMark is talking about piano. Would love his take on this recording.
I have listened to half of this recording. I will listen to the rest this weekend. I am a lifelong fan of Keith Jarrett. His solo work is great, but he is (was) also a great chamber jazz player and has great trio and quartet music.
IMO his greatest solo achievements were Vienna and Paris. Vienna in particular is one of the most important musical events that I ever heard and experienced. The Vienna concert is a monument to Western Music. Period. I cannot imagine if it actually had come through me, what a birthing process it was. But you have to dedicate a lot of time to it. It is not back ground music.
KJ is actually a good performer for listening to piano timbre because he absolutely takes the piano to its extreme. ECM tends to record him with a large staging, so on most headphones you will hear him from back in the hall vs. a DG recording of a classical artist, as one example.
But what you will get in an ECM recording of KJ is an expansive example of the upper partials of the piano. And when KJ really gets down to business, this can be an absolute wall of sound. It will remind you both that the piano is a percussion instrument, but more important (if you focus) show you this amazing universe of sound that exists in the small dissonances of the piano.
Having said all that, in terms of content, so far Bordeaux is less interesting to me than Vienna, or Paris. but that is a content question It is also how I feel about wine! So maybe that is it.
To add to this, sorry, I meant to say: as a musician I prefer tonal music. Later in his career, KJ started playing more shorter “parts” that are tonally obtuse. All good. I like harmony and where it leads me, and I like less music that does not have a tonal center. For that reason I like his earlier recordings more with all due respect.
I heard Jarrett back in the early-mid 70s. American quartet period, I think just after Fort Yahwuh album. I was familiar with his Koln Concert album - I got it when it came out. It was at Penn State, so I’m guessing 1974 east coast tour. Wish I could find notes and reviews on it.
I have listened to Vienna and Paris - but it’s been a while since I heard the Vienna. Like many, I’m more likely to spin what I have, which is Koln. I will definitely listen again.
I know what you mean by timbre. Guy next door (not the woodworker) is a local jazz and classical musician and piano tuner. He keeps our vintage upright in tune, and when he does, I get to experience real timbre right in the living room. I grew up with a little Spinet but I never got along well with keyboards personally. Others in the family yes.
In that other thread, you talk about headphones and timbre. I favor speakers. The office is getting quite close, although I almost always have to play below realistic volume.
Later note: had to be 76 or 75, since I looked up Koln, and that was Jan 75. And I know I saw him after.
Koln is great. Iconic. But it is adolescent compared to Vienna.
The Village Vanguard recordings are great. I’ve been to that space many, many times. Intimate. Nude Ants it was called. And anything he did with Jack DeJonette and bassist Gary Peacock. These are standards like no other.
I was having some idle private conversations in messaging with @SenyorC and it got me thinking about the music my parents played for me when I was a kid. They had this album, which I recall only somewhat, as I think it was destroyed when we got a fox terrier puppy for my little sister. But I recall the songs because Mom was a pretty accomplished guitarist (mostly classical, but also played folk) and Dad and I played recorder. Plus Mom and Dad used to like to sing world folk songs. And so did a fair number of their friends. Dad was department head of romance languages in Missouri (Romance Languages - derived from latin - French, Spanish, Italian, Portuguese, Romanch (Rheto-romanic), Aragonese, Leonese, Dalmatian, and a few others. )
This album got an international recording award. Germaine Montero did both singing and acting, although more acting later in her career. She’s French. The album was re-released in 2010, but I recommend the 1953 version. Monophonic. The 2010 version does not seem too messed with, but the track order is different, and there might be a couple of songs the original didn’t have.
I’m a bit too close to this album. Listening to it again gets very emotional.
Ya Se Van los Pastores just excellent