I like Keith Jarrett, but . . .

[Strung Up]

someone really needs to force Manfred Eicher to listen to the Dead's 'Europe '72' (or more to the point, Evans' 'Live At The Village Vanguard' recordings with like, what, the sound of maybe 100 hands clapping to the echoes of true piano trio genius and revolution?) so he might realize that a live recording can convey energy without 30 second, high-db applause fadeouts to beat listeners over the head with 'It's LIVE', and 'IT'S RILLY RILLY GREAT!'

 

[steven.rogers]

I like Keith Jarrett, but someone should tell him not to make sheep noises while he's playing.

 

[Flyin' Brian]

1969s Gary Burton & Keith Jarrett is a thing of beauty. No sheep noises then.
And how the heck does Burton make it sound like he's bending notes on vibes?

"Setting Standards" however is full of them.

 

[Strung Up]

I like Keith Jarrett, but someone should tell him not to make sheep noises while he's playing.

I've learned to live with that, b/c a., it's generally below the db level of the trio, as opposed to the applause, and more importantly, b., it's probably got a lot to do with the quality of his improvised lines.

At any rate, I don't think Mr. Eicher can help with the, er 'vocalisations', beyond mic'ing techniques . . . maybe an intervention from Glen Gould is in order?

 

[KRosser]

And how the heck does Burton make it sound like he's bending notes on vibes?

I've worked with many vibists and one of them showed me how that's done...I don't remember it exactly, obviously you're not bending the tone bar, but it has to do with striking with one mallet while you mess with the overtones with another....IIRC....it's neat, though, and really does sound like you're bending the note.

Someone showed me once how Monk made it sound like he was bending notes on the piano on those later Columbia recordings - he would sound one note, depress the next key up chromatically without sounding it and hit the sustain pedal, so the overtones of the next key up would sorta fade in

 

[TaronKeim]

Someone showed me once how Monk made it sound like he was bending notes on the piano on those later Columbia recordings - he would sound one note, depress the next key up chromatically without sounding it and hit the sustain pedal, so the overtones of the next key up would sorta fade in

This is brilliant. Thanks Ken!

_TJK*