Keith Jarrett-Dark Intervals (1987)
1 Opening 12:51
2 Hymn 4:55
3 Americana 7:05
4 Entrance 2:54
5 Parallels 4:56
6 Fire Dance 6:50
7 Ritual Prayer 7:10
8 Recitative 11:16
Recorded live at Suntory Hall, Tokyo, Japan on April 11, 1987.
Recorded live in Tokyo in 1987, DARK INTERVALS is a somber work, as its title suggests. The eight pieces range from the hypnotic and melancholy "Opening," to the Copland-esque "Americana." This set is of a piece with Keith Jarrett's more composed and near-classical works, rather than his solo explorations which are grounded in his mix of jazz, gospel, and folk (as on THE KOLN CONCERT, SUN BEAR CONCERTS, and FACING YOU).
It's a well-linked set; all of the pieces adhere to their introspective moods and move along with a mid-tempo grace. The sound is exceptional--this could well be a studio recording for all its rich warmth, though the applause at the end of each piece reveals otherwise.
Solo performer: Keith Jarrett (piano).
Personnel: Keith Jarrett (piano).
Recording information: Suntory Hall, Tokyo, Japan (04/11/1987).
...This music is incredible. KJ didnt hold anything back when playing this (as if he ever did). these are unusually short for keith, but not lacking in quality at all. while this may not be one of keith's more celebrated works, it is excellent, and, keith himself included two tracks from this cd on his recent release of selected recordings (as ECM recently did with many of their artists). my favorite track on the cd, which also happens to be one of the ones that keith selected for the recent ECM release, is 'Americana'. this song is absolutely beautiful and im sure i've listened to it hundreds of times. i know that i've left that song alone on repeat both while in bed and while on the comp. late at night. this was some of the first KJ i ever heard on his own (i had heard him w/ miles before, but thats very different). i highly recommend this cd to anyone interested in great dark improvised piano. another great example of keith's genius and ability to utilize his masterful technique when he chooses, but, more importantly, to restrain his use and speak with fewer notes when he so chooses also. keith is a master of the keys, but doesnt use this ability for show; he is one of the most tasteful pianists to ever live and knows how to use understatement
