Nostalgia chords with Keith Jarret | News from Catalonia | EUROtoday

We had been many who went to Mercat de Les Flors in Barcelona final weekend to fulfill once more with Keith Jarrett’s well-known Keith live performance. The Schauspielhaus Zürich Dance Ensemble, below the course of the choreographer and dancer Trajal Harrell, provided his present The Köln Concert, through which the legendary piano solely dances that the Pennsylvania musician improvised on January 24, 1975 within the House Opera of the town of Colonia (then German Federal Republic, RFA), a efficiency, that of Jarrett, legendary, which was recorded and edited in November of the identical 12 months as a double disc for ECM of copies). The live performance, from which a half century is accomplished, has generated a complete mythology round, such because the piano that Jarrett performed was not the anticipated one however one in all decrease and challenged high quality, and that the pedals labored badly – it has been stated that Jarrett performed as he did exactly as a result of it was not a superb pian Friend, and it arrived dusty.

Probably most people who attracted the Mercat name – amongst them Mayor Jaume Collboni, Ninona Mestres and Mercè Ros, our Chrissie Hynde, along with the director of the Dance House itself, Àngels Margarit – did the identical factor as earlier than going, which was to look among the many previous vinyls the jarrett album (retired from 2020 And staying for a very long time wanting on the cowl, with the black and white picture of the musician inclined on the piano along with his eyes closed as in trance, which is how we used to place ourselves after we listened to him, with and with out added substances. To me, the reality, it was sufficient for me to stare on the album to really feel, in an avalanche of nostalgia, which sprouted the crystalline notes of the Köln live performance, on the identical time summary and sensual, taking part in as rain drops within the home windows of the soul and dotted by the guttural sounds of Jarrett, these groans that we made so ours. That stated, there are purist individuals of the jazz who don’t like Köln’s live performance, or Jarrett, like Murakami, there he.

I keep in mind precisely the day I purchased the album – principally as a result of I’ve it signed up on one of many agendas through which he registered vaguely prouch a superb a part of what I’ve finished for nearly half a century. It was on November 5, 1979, on Monday, on Castelló albums, on Tallers road. Five days later, on Saturday 10, I returned to the shop to alter the album as a result of when arriving in full aesthetic ecstasy to half II B of the live performance, within the third face, the needle jumped (one thing that used to occur with the albums then and that with Spoty doesn’t occur). Köln’s live performance is likely one of the albums that I’ve heard in my life with Killing me softly along with his track of the not too long ago transferred Roberta Flack, the Total Control of the motels, and, all of us have a previous to imagine, the Help by Tony Ronald. At that point once I purchased it, they handed it on the earth (in accordance with my specific document) made as transcendent as they raffled me for the mili, I rolled as an actor a tv program (then I used to be a scholar on the Teatro Institute) through which I made one of many three bears of the story, which is already beginning up, and browse, in curious revoltijo, Cioran, Lovecraft, Bukowski and Onetti (Let’s discuss to the wind). Of these instances I’ve rescued a card from the market Dean London Shops (Franco Generalissimo Avenue, 508), the Ono Studio card and a yellowish cycles leaf that thought it was some name for freedom of expression and has turned out to be a survey of circle A with questions akin to “What authors are most interested in the young German cinema?” and vote packing containers to Fassbinder, Herzog, Syberberg or “None.”

The proposal that makes the Köln live performance the choreographer Trajal Harrelll, a black artist with affect in trend, artwork and the LGTBI+collective, may be very distinctive. Feel the seven dancers (he included) in piano sidewalks and makes them rise up and transfer progressively by fascinating vagging dance – and his trend cattle aesthetics – with fashionable dance and buttoh (Harrell considers his dance father to Kazuo Ono). The efficiency begins with 4 songs by Joni Mitchel, together with River, With his piano as related, as a wonderful overture earlier than coming into the Jarrett live performance. Harrell says that for him the Köln live performance encloses the thriller of artwork with capital letters and has tried to revive that thriller and the sensation of immediacy and the time transcendence of that have of 1975 within the opera of Colonia. It was the Mercat a hypnotizing present, with the actions of the dancers, lovely but in addition unhappy, struggling, grotesque and decadent actions, printing on our layers of reminiscences with a bodily plasticity and that left us to many transposed. I spent the little time of performing dwelling nearly an extrasensorial expertise. As if the actions of the dancers therapeutic massage me the reminiscence for which the scales of the Köln live performance had been voluptuously shifting from the current to the previous and again. “UF”, I may solely say on the finish, whereas different faces that mirrored the identical factor: what colocon.

After this, it’s going to sound uncommon to say that my favourite Jarrett and double disc is just not that of the Köln live performance, exactly, however the a lot much less recognized Hymns/ Spheres which he recorded in 1976 on the Benedictine Abbey of Ottobeuren (West Germany) taking part in the Boarded Boarded Body Trinidad, one of many two and the biggest of these constructed by the organist trainer Karl Joseph Riepp (1710-1775). Jarrett sat on the big organ, among the best in Europe, and started to play elegant improvisations that’s not that they elevate your soul however that they catapults you to the stratosphere. Hey Herman Hesse and goes from Buxtehude. About the Hymns/ Spheres (ECM) I mounted the one that’s to date my solely theatrical work, In Shakespeare’s thoughtsa efficiency that we characterize in distinctive operate on March 15, 1979 within the Gothic Chapel of Santa Ágata, on the Palau Reial Maior in Barcelona, ​​the Kandinski Experimental Group (GEK), composed of scholars of interpretation, pantomime and scenography (Quim) of the Teatre Institute. Jarrett’s organ album, which I found 8 months earlier than Köln’s live performance, caught a good friend, Titi Eranll, and I have never returned it but. It was listening to him at dwelling and considering that with Shakespeare and with me we had been going to do a superb trio (Jarrett, I do not need to say).

Taking benefit of the window of a cycle organized by Frederic Roda known as Animen Shakespeare And that inexplicably left us the chapel, we displayed in it what I, in my genius of that point, imagined as a materialization of Shakespeare’s consciousness, an inside area through which his most vital works had been gestated, and Olé. In a dreamlike and intimidating environment constructed with synthetic fog, spotlights with blue filters, a surroundings composed of mechanotube constructions with coloured wool threads akin to gentle rays and organ music that sprouted big audio system, the general public was protected representations of the Shakespearian characters. I, who for one thing was the director and proprietor (provisional) of Jarret’s album, performed Hamlet, a Hamlet who made the pine dressed solely with meshes, whereas companions like Montse Guallar, Charo Astiaso, Manel Done, Oriol Genís or Josep Gimen embodied different figures of the swarm tragedies. We integrated into a wonderful Julieta, Natalie Signer, which was struck on an interior balcony whereas from Ofelia, my first Ofelia, and since Susan Gray had a sudden assault of scenic panic, her previous sister Corinne made, to whom, to the shock of the gothic altarpiece of Jaume Huguet, we organized as a náyade drowned and with vaporous garments on the altar. Never see within the chapel.

Dragged by the nostalgia assault that triggered me The Köln live performance In the Mercat I approached Santa àgata on Thursday to deepen the melancholy of that unforgettable 1979 through which I found double Keith Jarret – and I nonetheless had the album of the sacred anthems of Gurjieff that the pianist recorded in 1980 (G.I. Gurdjieff: Sacred HymnsECM) -. There was an hour to shut and there was nobody. The chapel was bare, with the sundown leaking by the stained glass home windows. I stood on the middle of the ship and put the primary motion of Hymns / Spheresthe superb Hymn of Remembranceon iPods (in 1979 there was but even the Walkman). It was like a direct gentle to the mind. I might not have affected me anymore on the head with a .45. The chapel was stuffed with smoke and was populated with the previous ghosts of so many associates, together with eager for Enric Bentz, who walked via the gallery in regards to the entrance because the spectrum of Hamlet’s father.

That evening of Santa àgata meant the top of an period. The GEK, shaped by affect of Iago Pericot, was extinguished in that its solely deflagration and all of us scattered following completely different paths and locations. Keith Jarret, blessed, has gathered us once more, because it congregated so many within the Mercat with the Köln live performance. And only for that, Keith, you already deserve a spot in our bagquered and grateful hearts.