Is he no longer with us???!!!

Can you please explain the ending? I was trying to figure out how and why? Thanks.

​@@monsterjazzlicksi just watched this tune for the first time ever, although I've been a KJ fan since Koln and Bremen-Laussane recordings since the mid 70s. I experienced the last part as a groove that naturally emerged in the wake of the vibe from the Solar solos. Felt to me like a groove of pure curiosity and willingness to go with the flow of the energy and let it do whatever it wanted to. I love the way it feels untethered to any sort of harmonic structure and leans mostly on the energy of the rhythmic groove. It leaves me feeling grateful for the total absence of "hurry" or responsibility to expectation. I experience KJ listening deeply to what "wants to happen" moment to moment to moment. And I especially love the extremely gentle fade to silence toward the end. It's gets softer as slowly as possible without changing the pace of the softening. Incredibly difficult to do without ever repeating the same exact same volume twice. Like turning a volumn knob to zero as slowly as possible without ever stopping. Just feels rich to me, a great deal of respect for what is possible with 3 improvising musicians all of whom are paying attention moment by moment. I don't if this feels like a helpful response to your question, but it's just how I experienced it.

Cosma

adorable in every way this Keith Jarrett amooo de paixao coisa mais querida!!!!!

Laughed way to hard at this

Hahaha that annoys me so much

Haha

whole-body expressions 🤌🤌

+Dariusz Klimczak The Oscar Peterson Ray Brown ,Ed Thigpen editon

me too

Love

Torticollis is a problem involving the muscles of the neck that causes the head to tilt down. The term comes from two Latin words: tortus, which means twisted, and collum, which means neck. Sometimes it's called “wryneck.” 22:22 [WebMD]

Spectacular performance! 20:02

We can repeat if you think it's convenient. 1:32 We don't think it's inconvenient!

Was going to say then same thing - long shots and a chance to see Keith’s hands and Jack drumming technique especially- wish there was more of this kind of footage available…

awesome version too, i love it

Sadly, it wasn't to be.

+Davis Miller The emergence of this moment, I believe, begins earlier, just following Peacock's second bass solo at about 10:50, where something new fell out the sky into the Trio's lap --- this D note which brought into the tune a new element, albeit one which was always present as the second scale degree in C minor. After a restatement of the head of Solar, Jarrett returns to this D note which becomes the 5th for the G below it; the G in turn becomes the tonal center for the ecstatic flights to which we are witness at the end. For me, this transition as well as the glorious vamp at the end are of a piece. Glad you appreciate Mr. Jarrett like I do.

Transcendal what???!!!

Mountassir Hamada!!!

You're welcome.

Interesting … see previous comments with the opposite view😉… each to their own!

At 5:53 the beginning of the head starts over...in other words the beginning of the melody. They are still in 4/4 just as they have been through out the tune. To find out where ONE is....(the down beat) listen to the bass player. He is the best reference for finding the beginning of the tune, once they start improvising. If you already know the chord progressions, listen to the bass player for the tonic or bass note for the first chord to reference the beginning of the tune or the bridge of the tune. Regardless of what the piano player is doing or the drummer is doing, the bass player almost always is playing the normal rhythm and the written chord progression of the tune. By the way, you might be better off not transcribing but instead just learning the tune and then improvising around the changes using your own creativity. Solar is basically a twelve bar blues in C major...very simple. Copying other players turns you into an imitator which is never as good as the original. Knowing the tune allows you to create on your own, and develop your own voice, your own sound and your own style......and your own identity. Listen to Keith and let him influence you. Trying to copy him will be impossible. I've tried for over half a century. It never works. There are hundreds of Bill Evans note-for-note transcribed copycats. Not one sounds like Bill. Allow the masters to influence you. Trying to copy them note-for note is an exercise in mediocre futility and it does nothing to establish your own musical individuality.

jennifer86010 Thanks for your help Jennifer. You sound like you know what you are talking about for sure. No, I'm ok with the form and piano notes,,, that's not a problem it's the other thing at 5:53 to 5:54 I'm trying to capture.

+Plargify =AAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!

You probably need a new Flarkenstein cable for your gazornomplatz coupler. Mine goes out too when I try transcribing KJ.

dont you mean a blues in C minor ?

Welcome my friend. Have a pleasent journey...

He was named after a famous jazz tune.

"gneee gne gneeeeee gneeeeee" something along those lines :D

because of his singing technique ...

The camera work and video production.

even better WOOO! at 13:55 and 13:59 ;-)

Evans Voicings and their interior movement is incredible. Has soon has he starts to improvise I generally disconnect. Now he sings now he sobs (full album) Chick Corea and Deer Head Jarrett r some o me fav trio albs.The version of Solar by Mehldau trio 1999 is amazing swinging and very rare here on zee tube. I advise even those who dislike brad to listen to this and his versions of Anthropology, Blame it on my youth, and Paris. You will dig Marc Copland has Harmonically he is 2 much & loves Bill. peace

David velleman No offense, but I can't relate at all. Bill Evans, especially in the the earlier half of his career, had the most clear and structured lines ever played. You basically could've written anything he played down and sell it as an original transcription. His only weak point was swing, I think that's fair to say. But that's secondary because his lines, lyricism, phrasing and, of course as you said, harmony were so incredible. Of course his first and last trio were outstanding but an often overlooked formation is also his trio with Chuck Israels and Larry Bunker. That trio also was incredible. Maybe not as innovative as the former, but the structure, time, arrangements and especially their sound as an ensemble were just incredible. And Chuck Israels had a really great sound of his own. I'd take these three trios any day over Keith Jarrett's Standards trio. Also any Bud Powell, the Oscar Peterson or one of Herbie Hancocks trios. In fact, also the trio Keith had with Charlie Haden and Paul Motian on his first record. I never understood all the fuss about the standards trio because groove and time really is a weak point. KJ's groove is not really his strong suit anyway, so he needs a solid rhythm section but I feel like Gary Peacock is mad rushing all the time, especially in his solos, and rarely together with the great Jack DeJohnette. Also, I don't like Gary's tone at all. Brad Mehldaus trio is also great. I think his rhythm section is playing much better together than Jarrett's. Now he sings, now he sobs is mindblowing, although I think it has a kind of "sterile" quality to it that I don't like. I also enjoy Joey Calderazzo's trio playing and the few trio recordings of Kenny Kirkland. But in the end it all comes down to personal taste, I guess. Every trio and musician I've talked about is outstanding.

I hate when people add the word BEST to ART. Why do you need to compare apple and oranges? Who cares ?

Why not just end on , "Magnificent of course"? Why go into that other bullshit people like you go into?

@@skineyemin4276 bastards can't help it

Jazz anarak!!!

@@monsterjazzlicks I want my money back Keith!

Theres no mistakes..just Life