Disco Bregenz

Disco Bregenz Party-Archiv

In der Panorama-. Aktuelles Programm: Aktuelles Programm. Tipps für Nachtaktive, Kaffeeverliebte, Lebenshungrige, Partytiger Von Feuer spuckenden Kellnern, jonglierenden Barkeepern über Künstlerlokale bis zu. KALI Club Bar – Bahnhofstraße 14, Bregenz – Mit bewertet, basierend auf 46 Bewertungen „Top Lokation, tolle Leute, toller Gastgeber und super. Nachtigall in Bregenz. ab Uhr Rheinstraße 74, Bregenz, +43 Deutscher, englischer und italienischer Disco-Fox & Schlager.

Disco Bregenz

Aktuelles Programm: Aktuelles Programm. Nachtigall in Bregenz. ab Uhr Rheinstraße 74, Bregenz, +43 Deutscher, englischer und italienischer Disco-Fox & Schlager. In der Panorama-.

Verified Purchase. Why these concerts from May and June have been held back for such a long time is hard to understand.

The concert discs may have been released earlier [LP], but only the Bregenz came out in CD and it went out of print fast. The solo concerts of Keith Jarrett always draw audiences hoping for magic.

Such occurred in Bregenz and Munich, though far less often. Jarrett then was still flowing with romantic melodies and neo-classical elements.

His creative experimentation required no preliminary noisy vamping while ideas took shape. Instead, we instantly were taken on a ride where jazz, classical, and gospel roots arise and blend.

In the first disc of the Bregenz concerts, he moved from lyricism to a variety of rhythmic changes, and as a bouncing ball landing among strewn scores, we hear phrases and bars suggestive of familiar classical idioms and styles.

The second track has a cohesive propulsive bassline while his right hand engages in musical play. We never know what will ensue -- a folk dance, a free jazz flicker?

Next is the encore, the first of two renditions of the gospel ballad Heartland. The Munich concert opens in softness and a search of a theme, which arises in sonority after 5 minutes.

The ostinato develops into a soulful melody of obscure Central Asian form. The music spirals until its transforms into a stacato sprightly and happy dance that, alas, goes nowhere and fades.

Part II continues with some wandering about. It is somewhat gossamer, without crescendo or strong melody. Finally, at 10 minutes, a rhythm develops and a song emerges to die but two minutes later into the original quietness.

A new tune then arises with harmony and power, but it too fades away. And so forth until it closes with those noisy arpeggio that dominates recent albums.

Part III fortunately makes amends by commencing with a jazzy spiritual ballad filled with joy. A series of pleasant positive tunes, dances, and romances one with a touch of Bach , all short-lived, follow.

The creative font of Jarrett here is well demonstrated. Part IV has Jarrett reaching into the piano for some harp-like plinkling to go along with upper register keys in an exploration of the treble.

The two encores were Mon Coeur est Rouge and again Heartland. Against the earlier experiments, these lovely straightforward renditions are more than a change of pace.

They leave the audience with a smile. In summary, while Bregenz deserved to be reissued, I surmise the reason why Munich's concert was until now left behind in the CD era is because it is simply not of the high quality of performance as Bremen and Lausanne or of those solo events that followed.

Still, there is much to appreciate, and the album is a worthy addition to the Jarrett fan's collection. Package notes include comments by Jarrett, an essay by Swiss critic Peter Rüedi to give some perspective to this era in Jarrett's career, and poetry by Michael Krüger.

It's fascinating to research where KJ was at this point in his life and career. Certainly at the peak of his strength and stamina, he was still pushing back boundaries on his playing and thinking.

I wonder if he faced a new life of loneliness at that point, personal and professional. In I believe all this was coming together in his mind.

The problem is then organizing all this into a coherent form. I'm sure he relies on instinct and his hands to do the right thing, but I suspect his frontal lobe is listening to an overall structure as it develops: Koln was an excellent example of a piece that ends up not sounding improvised the more one hears it, because the ingredients were rather limited due to the inferior piano and his fatigue that evening..

I wish we had a glimpse into what he played in Japan to huge audiences in May prior to arriving at Bregenz, and to know when he played the 20th century works with Boulez' ensemble, because Bregenz is a great concert: a wild ride among many idioms.

The audience loves it; it seems to progress logically from one idiom to another, and no reliance on one idiom to fill out the time..

After that a concert in Lausanne of which we know nothing; then two days later in Munich he tries a more leisurely approach, but it's almost as if his new rich vocabulary leaves him with too much to say and without a clear means to form a paragraph; there are many starts and retreats.

All the music in any moment is fine, of course, but when it dissolves into percussion at the end, you feel there was nowhere else to go, A triumph on its own terms, but not a CD I would play for my wife.

I am very glad to have this pivotal moment preserved. After listening to Munich several times I developed an interest in Prokofiev: the 2nd piano concerto would have been excellent for KJ : For those who need more top-drawer Keith look for February 2, in Bremen.

A master at work. I am surprised, though, that he didn't yell at the audience for applauding while the compositions were being played.

I understand he was prone to audible annoyance when someone coughed or sneezed or whispered. Not here, though. He seems to be feeding off the audience's appreciation.

Oleson Top Contributor: Game of Thrones. He seems to excel at these solo concerts in Germany. This is a gorgeous set of performances, finding Mr.

Jarrett in melodic playful mood. Gorgeously recorded complete with foot stomps, humming, and sighs , this album take the listener back to the time when listening to Jarrett's improvisations was a breathtaking and exhilarating experience.

If you love the 70's and early 80's era solo albums- this album will be essential. I have every solo concert Jarrett has released.

This is at the top of my and Stereophile's list. Start here. The acoustics and performance are excellent.

One person found this helpful. I'm a huge Keith Jarrett fan. I am delighted to have these examples of some of his 80's work.

The variation on the Koln concert here is at least as good as the first-released one. All three albums are good and the record is good too.

I love it. It is surprising that it was once norminated as album of the month by stereophile magazine.

See all reviews from the United States. Top international reviews. Translate all reviews to English. Whilst KJ's later solo albums in the 's dont quite have the magic and emotion of the eatlier ones, dont overlook the nineties albums.

Whilst they are clearly starting to evolve into the music that so disappointed many of his audience, this album along with la Scala and Vienna are still a very satisfying and involving listen.

Both 'anger' and pathos combine at this time to really deliver some very powerful music. Thank you for your feedback.

Sorry, we failed to record your vote. Please try again. I don't know why these concerts haven't been released before, but I'm glad they are out now.

Having first got to know Jarrett via the Cologne and La Scala concerts and been rather disappointed with the Sun Bear series, these two definitely lived up to expectations.

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Eyes of the Heart. The Survivors' Suite. Tales of Another. My Song. Sun Bear Concerts. Nude Ants. Gurdjieff: Sacred Hymns.

The Celestial Hawk. Keith Jarrett: Ritual. Standards, Vol. Standards Live. Keith Jarrett Concerts. Book of Ways. ECM New Series. Dark Intervals.

Still Live. Bach: Goldberg Variations. Works by Lou Harrison. New World Records. Standards in Norway.

Personal Mountains. The Cure. Paris Concert. Handel: Recorder Sonatas. RCA Red Seal. Vienna Concert. Bye Bye Blackbird.

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Improvisation is more than the word expresses. Jt is a "blazing forth" of a "Divine Will" Divine if only because of its greater force.

This means you the pianist are not only a victim of a message impulse quite beyond your own human ideas and thoughts, but you must put out into the world of sound as large a portion of it as possible first having put complete trust in the "impulse".

Then simultaneous! Only then you are responsible to everyone listening because, only then, the listeners are ali there is there is no "pianist".

At the same time you could say there is no listener and everyone in the hall is participating in the music This process is the process of creativity.

Only the consciousness of that tact differs. If you refuse to even consider it, then cocktail hour may be your most important experience.

This is not to suggest that Beethoven's cocktail hour might no! Creativity is what makes humanity move again whether they Iike it or not or know it or not.

We were Created to Participate. They will not see the process and they will bring their own monotony-of-vision with them.

However, there are some truly boring things which, unfortunately, those same people might regard as interesting because it matches their monotonous vision.

They will be waiting for something to come to them: something re cognizable yet new! A new color, a new disco, roller skates instead of jogging, Allegro instead of Adagio, outside change to make up for inward laziness.

Participating means accepting the challenge and consciously taking part in your own life. Since you have to participate anyway, why not do it consciously?

But this means "no censorship", and at the sa me time it does not mean"anything goes". It means don't be subverted.

It means you have a right to "see it in action". But you cannot tell it to change or not to change; you can only Be There to Receive h.

This is not a passive activity. This is a simply stunning set of three concerts, all from Jarrett's tour of Europe.

While one of my favorite Jarrett tracks of all is from the Koln concert the first track , the recording quality of that disk makes it a bit of a tough choice despite the artistry and melodies he puts into that concert.

I have zero reservations about the Bregenz concert: the entire disk is a celebration of the genius that is Jarrett.

From the variety of music, starting soft and retrospective, through his percussive use of the piano, his atonal onomatopoeia accompaniments, uncountable key changes, and beautiful morphings from one theme to another, the concert is wonderful.

Of the four tracks, there's no favorite: they are all superb. Each different, each wonderful. The Munich concert discs are also incredible, but for me the best of the three discs is the Bregenz concert, and this is the one disk I play to introduce others to the artistry that is Jarrett's improvisation.

One warning, through: as Jarrett points out in his notes in the accompanying booklet, listening to his concerts is not a passive experience, but an active one.

As background music, it's just there. But focus on the music On first listening, the changes in themes and the way he works from pace to pace, dynamic to dynamic, key to key are all intriguing: you can see exactly how he goes from one to the other.

On repeated listening, you pick up the details of how he does it, where his mind is going knowing what's coming , and gain a bit of an insight into the thought processes involved.

Being an active listener, you participate in the music. That's not new-age nonsense, but something you'll appreciate when, with no distractions, you just sit there and absorb the music, let it flow, and interact with it.

That's something that most of Jarrett's other albums haven't done for me, but this one does to excess. I've started giving this box to others to introduce them to the wonder that was Jarrett's improvisational concerts, and no one has ever been disappointed.

I listen to these discs at least once a month, usually late at night when I can sit and concentrate, and it always puts me at peace, even though the tempos of the last two tracks should do the opposite!

An absolutely stellar recording of a phenomenal artist at the peak of his wizardry. This is what Jarrett is all about: amazing you.

Keith Jarrett d'annata. Dal punto di vista improvvisativo una delle sue cose migliori. Nice music. Jarrett doesn't disappoint.

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