JohnOfPatmos

Beautiful review, Stefanet. Tyner is truly a great of jazz piano, and you did well to highlight the connections with Art Tatum. To the pantheon of pianists you mentioned, I’d like to add the great Oscar Peterson. Hello and congratulations again, JoP

Thanks to everyone who has read and commented on this review of an album that is really difficult to... summarize ;) I agree with Cana's ONE that perhaps with an album like this you are influenced by the fact that you know what you are going to hear. A very, very appropriate observation. Thank you so much, Hal, for the samples ;) Meanwhile, I'm listening to "The Melody At Night" by Keith Jarrett ;) Saludos a todos, JoP

It's true, Hal... "For Rose Anne, who heard the music, then gave it back to me." Tonight it's my turn to listen to "The Melody" ;) Bye, JoP

"You can almost physically feel the effort of creation." So true, Mullah. Perhaps the peak of this creative effort KJ reaches in another splendid solo, the encore "Heartland" from the Bregenz concert (which is also found in the collection "Rarum"). Regarding "The melody at night with you," I agree with you, Hal. Certainly, one must consider the chronic fatigue syndrome that unfortunately affected Keith during that time... However, in my opinion, it remains a very weak album, perhaps overly promoted in a bold attempt to revive Keith (as indeed splendidly happened with "Whisper Not," which was also recorded in Paris). I'd love to discuss "classic" Jarrett at length... but maybe there will be an opportunity for that in the future ;) I vote for Mullah again for the comments! Cheers, JoP ;)

A difficult album with perhaps excessive influences that make it a bit uneven. However, there’s "But On The Other Hand," a piece that is nothing short of masterful, which might be worth the purchase of the CD on its own. For the first anonymous, the album was released in 2001. Hi, JoP

Errata corrige: I agree with the Mullah that Bill Evans, in certain aspects, was certainly NOT inferior to KJ...

I too, like Stefanet, have some "nuances" regarding KJ... Certainly, he is a jazz pianist and more, who has marked and will mark the history of music. There are no doubts about that. However, perhaps his genius is not uniform, not constant, and at times a bit pretentious. Some have even spoken of "infantile arrogance" in relation to Keith. In short, I agree with the Mullah that Bill Evans, in certain respects, was certainly inferior to KJ. However, I still have some doubts about Jarrett. A few examples: certain episodes with the American Quartet, some pieces on the clavichord, "Bridge of Light" and - but here we obviously enter the realm of ultra-personal opinions - the very weak "The melody at night with you." To which I would add some less successful classical moments, like the "Goldberg". Of course, the KJ Trio is extraordinary. But, in my opinion, KJ reached his peak with the Norwegian quartet, especially with "Belonging". Returning to the comparison with God, I would say it remains exaggerated even in the musical realm. At most, I would accept an "Olympus" with many Gods... like Oscar Peterson, Glenn Gould, or Bill Evans. Hi everyone ;)

Speechless, Mullah. I thought it was impossible to describe "Paris" perfectly, but you managed it. Maybe it's a bit exaggerated to compare it to God, but I must say that KJ is a great all-around artist. And above all, he is a pianist who, as the Mullah perfectly pointed out, has his roots deep in great classical and baroque music, with Bach being the foremost. The Koln, on the other hand, is another story. More "new age" perhaps, less improvised, maybe. But Jarrett's peak might still be the solo at La Scala. Bye ;)

An unmissable album, absolutely. As the booklet says, an album that, in addition to Conte, also recalls Pavese, the Langhe... The truest and most genuine Piedmont, in short. The songs are more beautiful than the other, and ranking them or describing them is always difficult. However, absolutely extraordinary are "Dentro la tasca di un qualunque mattino" and the biting "L'automobile" (with its pronounced jazz strokes). And of course those "Donne nelle Stazioni" where "there's always someone waiting for them." Congratulations on the choice.

I love "How to Be Invisible," but I've listened to the album too little so far to give a judgment beyond the initial, great impression. It is certainly a collection of great allure. The review is definitely passionate. I especially liked that "for those who are also fathers or mothers, the experience is amplified." Even though I'm not a father yet, you wrote a really beautiful sentence ;) Bye.