Keith Jarrett - The Melody at Night, With You
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Free Music Notes for The Melody at Night, With You
Free Music Review: Solo standards for your deep interior
Hit: 5 Stars
After dozens of disks of standards played with his wonderful trio, Keith Jarrett recorded this disk at home by himself. This record can take you deep into the center of your mind. For those who look to music as a source of transformation, The Melody At Night With You is a first-class ticket to the Interior.Free Music Review: in time
Hit: 5 Stars
...we arrive at certain, unspoken expressions which remind one that language is, at best, a flawed medium.Free Music Review: Something For Everyone
Hit: 5 Stars
Whereas I've always admired Jarrett's technical skills at the piano, I've never appreciated his styling until now. The Melody At Night, With You provides recognizeable tunes for those into easy listening as well as an array of avant-garde chord structures and runs that stimulate the palate of seasoned listeners. This is a trophy CD.Free Music Review: Nice, But No Cigar.
Hit: 3 Stars
If this were another pianist, I would rate it higher. But Keith Jarrett is the ultimate ballad player, and this CD falls short of his capabilities. This is several notches below his "100th Concert in Japan" (previously on video, but not published on CD). One wonders whether his well-publicized health problems affected his playing. He is very restrained as if he is afraid to over exert himself. His playing, except for the second track, lacks rhythmic and emotional depth and his vocabulary is limited -- usually hallmarks of his playing. As a result, the CD becomes background music. A pleasant album, but mediocre playing from an otherwise great pianist.
Free Music Review: Focused Jarrett
Hit: 4 Stars
One of the most imaginative and daring pianists of the last 30 years shares the sum of his maturity in this delicate yet intense, economic yet lyric, set of interpretations of classic American songs. The characteristic Jarrett assurance is replaced here by a more searching quality along with greater deference to the song, as though the interpreter is more willing to see where its melody will lead him, rather than vice versa. My only regret is that he chose to lead with "I Loves You Porgy," the same song Bill Evans recorded for the ages as the opening number on Vol. I of "The Paris Concert." Re-listening to that transcendent performance, I couldn't help but be struck by the "body" of the tone, the density of the melodic and harmonic structures, and the absolute purposefulness of every note of each chorus. Jarrett's version is nowhere near that level. But it sets a standard among living pianists--and a high one at that.