Paris / London - Testament

Available in Audiophile 96kHz/24bit & 44.1kHz/16bit

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Album Name Length Format Sample Rate Price
Paris / London - Testament 2:17:38 $35.98
Buy Individual Tracks
# Track Title Length Format Sample Rate Price
Album 1
1 Paris, November 26, 2008: Part I 10:44 96/24 Album only
2 Paris, November 26, 2008: Part II 8:41 96/24 Album only
3 Paris, November 26, 2008: Part III 5:49 $2.49 Buy
4 Paris, November 26, 2008: Part IV 4:37 $2.49 Buy
5 Paris, November 26, 2008: Part V 6:58 $2.49 Buy
6 Paris, November 26, 2008: Part VI 5:29 $2.49 Buy
7 Paris, November 26, 2008: Part VII 5:38 $2.49 Buy
8 Paris, November 26, 2008: Part VIII 8:22 96/24 Album only
Album 2
1 London, December 1, 2008: Part I 9:22 96/24 Album only
2 London, December 1, 2008: Part II 7:21 96/24 Album only
3 London, December 1, 2008: Part III 6:05 $2.49 Buy
4 London, December 1, 2008: Part IV 5:06 $2.49 Buy
5 London, December 1, 2008: Part V 9:21 96/24 Album only
6 London, December 1, 2008: Part VI 5:44 $2.49 Buy
Album 3
1 London, December 1, 2008: Part VII 7:52 96/24 Album only
2 London, December 1, 2008: Part VIII 6:57 $2.49 Buy
3 London, December 1, 2008: Part IX 3:28 $2.49 Buy
4 London, December 1, 2008: Part X 4:53 $2.49 Buy
5 London, December 1, 2008: Part XI 7:20 96/24 Album only
6 London, December 1, 2008: Part XII 7:51 96/24 Album only

Price as configured: $35.98

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2009 Album of the Year - Jazzwise (UK)

At the end of 2008, Keith Jarrett added two concerts to his schedule at short notice – one at Paris’s Salle Pleyel (November 26), one at London’s Royal Festival Hall (December 1) . The music on “Testament” is from these concerts. Their range is compendious, Jarrett’s improvisational imagination continually uncovering new forms, in a music stirred by powerful emotions. In his liner notes, the pianist is forthright about the personal circumstances promoting a need to lose himself in the work once more.

He also reminds the reader/listener that “it is not natural to sit at a piano, bring no material, clear your mind completely of musical ideas and play something that is of lasting value and brand new.” This, however, has been the history and substance of the solo concerts since Jarrett initiated them, almost forty years ago . Over time their connection to ‘jazz’ has often become tenuous, yet Jarrett’s solo concerts, with the foregrounding of melody and the continual building, and relinquishing, of structure, are also removed from “free improvisation” as a genre. Jarrett’s solo work is effectively its own idiom, and has been subject to periodic revisions by the pianist. “In the early part of this decade, I tried to bring the format back: starting from nothing and building a universe.”

Since the “Radiance” album and the “Tokyo Solo” DVD of 2002 Jarrett has been adjusting the flow of the work, more often working with shorter blocks of material. “I continued to find a wealth of music inside this open format, stopping whenever the music told me to.” This approach distinguished “The Carnegie Hall Concert” (2006), and it is most effectively deployed in “Testament” , where the strongly-contrasting elements of the sections of the Paris concert in particular have the logic of a spontaneously-composed suite. The nerves-bared London performance (the first UK solo show in 18 years) is different again: “The concert went on and, though the beginning was a dark, searching, multi-tonal melodic triumph, by the end it somehow became a throbbing, never-to-be-repeated pulsing rock band of a concert (unless it was a church service, in which case, Hallelujah!).”

In the end, the improviser does what must be done. As Keith Jarrett said, a long time ago, “If you’re a rock climber, once you’re halfway up the face of the cliff, you have to keep moving, you have to keep going somewhere. And that’s what I do, I find a way.”

These days, however, Jarrett is rationing the number of ascents: there have been less than thirty solo concerts in the last decade, making “Testament” a special event indeed. Two further solo performances are scheduled for 2009 – at the Palais des Beaux Arts in Brussels on October 9, and at Berlin’s Philharmonie on October 12.