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04/14/2010
  • betty carter’s droppin’ things:

    allow me to quote myself:

    56 seconds of bliss: dado moroni and tom harrell doing a soundcheck. i love listening to and watching musicians deal with the creative process. rehearsing a new tune, creating new vamp. eye contact. smiles. i even have a collection of mistakes. betty carter starting a song off too fast, having to say sorry, stop, start again (and i love that betty left that on the recording). a whole bunch of charlie parker outtakes. it’s all good!

    listen to the first ten seconds. not only did betty start this song too fast. not only did she stop and restart the song at a slower tempo. not only did she leave the mistake on her recording. this is the title track of the album.

    otoh, the song is all about “stumbling and droppin’ things!”

    (0) [4:26pm] - (Comments)
04/13/2010
04/20/2009
  • Trio 3:

    Nice piece by Oliver Lake (ts), Reggie Workman (b) and Andrew Cyrille (d):

    (0) [3:27pm] - (Comments Off)
12/22/2008
  • Curtis Mayfield – Move On Up:

    I was watching Letterman when the band started playing this familiar song. Couldn’t remember the name but knew it was Curtis Mayfield. It’s a great song. Maybe it could be a replacement for “Hail to the Chief?”

    (0) [12:41am] - (Comments)
03/21/2006

Keith Jarrett Solo Piano at SFJAZZ

Published
on 03/21/2006
in Music
. Comments Tags: , , , , .

It Might As Well Be Spring

On Sunday (3/19/06), I had the opportunity to attend SFJAZZ’s Keith Jarrett solo piano concert at San Francisco’s War Memorial Opera House. I’ve loved his recordings for what seems like forever, and have taken every opportunity to attend the SFJZAZZ performances by Keith, Gary Peacock and Jack DeJohnette.

Keith JarrettNevertheless, I didn’t get tickets for the solo concert. $100 for orchestra seats was part of it, but mostly I prefer working bands to solo performers. Still, when friends called with extra tickets, it was impossible to say no.

The first set consisted of six totally improvised pieces. After a bow to the audience, Keith sits at the piano and lets his fingers figure out what they’re going to play, without preconceived ideas. Arpeggios, scale runs or random notes. Where’s he going? It’s hard to tell.

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