Tokyo Solo (豆瓣)

表演者: Keith Jarrett
流派: 爵士
专辑类型: 视频
介质: DVD
发行时间: 2006-06-01
出版者: ECM RECORDS
唱片数: 1

豆瓣评分

9.5

111人评价

5星

78.9%
4星

18.3%
3星

2.8%
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0.0%
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0.0%

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简介 · · · · · ·

　　It's no bulletin that improvisation is perhaps the central component of jazz, or that Keith Jarrett, a master jazz pianist, is also a gifted improviser. Yet what Jarrett plays in the course of Tokyo Solo, a 2002 performance that was his 150th concert in Japan, could hardly be called jazz, at least not according to most accepted criteria; the music heard here is, as Duke Ellin... (展开全部) 　　It's no bulletin that improvisation is perhaps the central component of jazz, or that Keith Jarrett, a master jazz pianist, is also a gifted improviser. Yet what Jarrett plays in the course of Tokyo Solo, a 2002 performance that was his 150th concert in Japan, could hardly be called jazz, at least not according to most accepted criteria; the music heard here is, as Duke Ellington once said, "beyond category." What's more, "improvisation" seems inadequate for the process Jarrett has been perfecting since he began making solo recordings in the early 1970s. "Spontaneous composition" is more like it, for while most jazz players extemporize over a known melody or set of changes, Jarrett begins with a tabula rasa, creating music from nothing other than what's in his head and hands at a given moment. It's a fascinating process to witness, and if Tokyo Solo is not his finest work, it's nonetheless filled with extraordinary moments. It's easy to see why Jarrett, a notorious perfectionist, has performed so often in Japan: the venues are acoustically superb, the audiences are quiet and reverent, and the resulting recordings, including this one, feature impeccable aural and visual production values. Some of the material here appeared previously on the ECM CD Radiance (2005). In the course of two lengthy pieces ("Part 1" has three sections; "Part 2" has five), Jarrett's music is sometimes dissonant and challenging, filled with furious chording and dense clusters of sound ("Part 1(a)"), sometimes classical ("Part 1(b)" brings to mind a Beethoven sonata), sometimes gorgeous and almost impressionistic ("Part 2(a)" suggests a Ravel etude, while "Part 2(d)," perhaps the most sublime portion of the concert, leans a bit more toward Debussy). The setting (a darkened stage with nothing but the pianist and his Steinway) is simple, as is Kaname Kawachi's direction; there are plenty of close-ups of Jarrett's face, hands, and feet, as well as a few shots inside the piano, but nothing in the way of effects or trickery. Three more standard encores, including "Danny Boy" and "Old Man River," complete a concert sure to be treasured by Jarrett devotees. --Sam Graham
　　日本，尤其是東京，對許多西方音樂家來說那是個夢幻演出場地，一來那裡徹底的崇洋，能給演奏者極大的鼓舞與虛榮；二來那裡聽眾素質高，台上台下的共鳴交流更為強烈。環境與觀眾對演出者的重要性甚高，面對著對的地方、對的人，演奏者在台上往往能被激發前所未見的潛能，如果能留下現場錄音，肯定經典傳世。
　　KJ音樂路上走來的用心，樂迷有目共睹。不過這張錄音推出前的這段時間，像是長大的休止符，休止時間幾乎長達十年，令不少人擔心，他是不是不玩現場鋼琴獨奏了？期間在1999年秋天，他也曾嘗試在日本錄兩場獨奏，但他本人對結果並不滿意，直到CD/ Radiance以及 DVD TOKYO SOLO問世，死忠樂迷才放下了心中擔子，似乎盼到了黎明。
　　從影像裡的感受的表現，再度證明KJ無疑是當代即興藝術的代名詞！
　　感覺他每一個紮實的觸鍵，就像一顆顆沉重的铆釘，把整個人掛在鋼筋上動彈不得，就像耶穌基督被釘在十字架上一樣，思路是清晰的、感官是敏銳的，但是行動卻是受限的。
　　感覺像人被他的音樂「點穴、定住」了，就算一開始有種混亂、爆炸的感覺，令人有逃走的念頭，但你就是走不了，有種想逃卻有想繼續聽下去內在矛盾。然後，慢慢慢慢你的感官被KJ的音樂理順了，可能是聽覺被馴服了，也可能是他的滔滔雄辯的琴音理路佔了上風。
　　整個人完全被KJ的即興牽著走，束縛我的不是有形的繩子，也不是他的大名氣，而是發自內心的需求，一種與他的琴音產生共振的動力。