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A Multitude Of Angels [4 CD]

Keith Jarrett Format: Audio CD

93 ratings

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Editorial Reviews

A 4-CD set of recordings from a series of solo concerts in Italy in October 1996, documenting the conclusion of Keith Jarrett's experiments with long-form improvisation in performances from Modena, Ferrara, Turin, and Genova. "These were the last concerts I played having no breaks within each set," Jarrett explains in his liner notes. The arc of the music is characteristically comprehensive: "Jazz is ever present here, alongside my deep closeness with classical music (modern and ancient).

Product details

Is Discontinued By Manufacturer : No
Language : English
Product Dimensions : 5.83 x 5.28 x 0.83 inches; 6.98 Ounces
Manufacturer : ECM
Original Release Date : 2016
Date First Available : September 13, 2016
Label : ECM
ASIN : B01LZG46LB
Number of discs : 4

Best Sellers Rank: #60,555 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #507 in Traditional Jazz & Ragtime (CDs & Vinyl)
- #43,240 in Pop (CDs & Vinyl)

Customer Reviews:
93 ratings

Customer reviews

5 star		80%
4 star		13%
3 star		2%
2 star		4%
1 star		2%

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jholmdel

the best solo improvisational concerts that Jarrett has ever given

Reviewed in the United States on March 3, 2017

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This collection represents, perhaps, the best solo improvisational concerts that Jarrett has ever given. Everything that preceded was practice for these ultimate concerts – the last solo concerts performed to-date by Jarrett and, according to him, the last that he is likely to ever perform.

When Jarrett performed these concerts, he was suffering from the ravages of Chronic Fatigue Syndrome. These concerts represent Jarrett’s efforts to confront his illness. With no predetermined agenda, Jarrett reached to the depths of his soul to connect with what he was thinking and feeling at the time, and began an intimate conversation – which he graciously shared initially, with his audience, and now, with the rest of the world.

If you love music, in my view, these performances belong in your library alongside Beethoven’s 9 symphonies. If you love jazz, these performances deserve a place alongside Miles Davis’ Kind of Blue, John Coltrane’s, Blue Train, Sonny Rollins’ Saxophone Colossus, Bill Evans’ Waltz for Debbie, Dave Brubeck’s Time Out and, for that matter, Jarrett’s Koln Concert.

But, don’t take my word for it. Check it out & decide for yourself.

22 people found this helpful

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who and how Jarrett was in '96

Reviewed in the United States on January 29, 2017

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Why are we fascinated by Keith Jarrett’s solo performance. What is an attractive point of his play. Is it from a reason we can witness the very moment of creation. Or, from a reason we think we can feel similar catharsis as Jarrett might experience during his concert. Some people will be drawn by his peerless concentration, while other people are wondering a drawerful of ideas. His signature vocal inflections and stomps would be a fruit of his concentration. Another may assert they simply like the world Jarrett creates. Then, why does Jarrett continue his one and only non-idiomatic spontaneous composition. He puts whole himself into hands of his feelings when he plays. He stomps a floor with all his strength on the impulse of the moment. He groans as if forced out of his vocal cords. He exhausts himself physically and mentally by doing a solo performance. Actually he was said to be struggling with the onset of chronic fatigue syndrome at this time. He confesses he found himself too tired to do anything he normally do on the way to these concerts. There would be a case the listening quality among audiences mar his concentration. Why does he put himself into such an ordeal. Jarrett answers to Nate Chinen “There was no reason beyond the music to play what I was playing. Music is an emotional experience, and it has the ability to be a spiritual experience. I’m not trying to play religious music, and yet I hear so many kinds of deep meditation. You can gain knowledge, but you can’t gain consciousness. Consciousness is what I was working on in ’96.” (Jazz Times, Feb.,’17)

Jarrett calls “A Multitude Of Angels” concerts the pinnacle of his career in his self-penned liner notes. Every part has a well organized passage, the course of an event of three or four, introduction, development, turn and conclusion. The introduction of “Modena-Part 1” has a feel of dry, cool air in the winter morning. I’m thinking of an old-fashioned Japanese hot spring resort in the snow season. When he traces these passages to finalize the movement, some warm feeling is appended in his play. He begins “Torino-Part 1” with a somber mood, like visiting an aged temple. Getting gaiety in the following movement, he conclude the tune with an astonishingly short depiction, which revives clear and fresh feeling in our hearts. In a motif of “Genova-Part 1,” it contains familiar tones which reminds me of a water koto cave sound. Jarrett talks about ‘overtones’ during the interview with Chinen. 4CDs are rich in resonance. Jarrett seems to enjoy reverberations, trailing notes, and swelling of every key while stepping up and down the sound stairs. Even a bumping-floor-sound echoes comfortably. Tapping, voicing, and pause steers a movement into a different direction and gets a roll under its own inertia. After struggling and wriggling for a while, he finds a suitable melody for his sensibility of the day. It flows out seamlessly from his fingers as though a dam inside him has broken. Sometimes he starts playfully like abstract painting, yielding himself to passion at the time. Chase-like scampers in “Torino-Part 2” reminds me of a sound track of an old cartoon movie. A rollicksome down-to-earth vamp in “Ferrara- Part 2” is his another characteristic. Through passionate stroking, he finds a sweet tune which purify our minds. “Genova-Part 2,” as in “Ferrara-Part 1,” unfolds a fairy tale world with a poetic sentiment. A Spanish flavored melody in the middle morphs into a solemn music like a funeral procession. Jarrett’s humming sounds like sutra chanting. He finishes with wood fish like sounds. A funky boogie-woogie vamp takes us to a dreamy “Over The Rainbow.” Every concert is connected with each other. Four concerts in total record who and how Jarrett was in ’96.

12 people found this helpful

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A Kind of Seuss

Great Music. Great Sound.

Reviewed in the United States on September 9, 2017

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There are a couple of reason to buy a piano CD:
1 - you like piano music
2 - you like to challenge your system

These discs do both, with a vengeance. The problem with recorded piano, even a few ECM, is that it sounds like recorded piano. Jarrett did this simply with a couple of mikes and a DAT machine. The piano has both serious frequency range and dynamic range. The early Mercury Living Presence analog tapes (35mm) handled both, but with some tape hiss. Jarrett stays mainly in the mid-range, as is common, but he throws harmonics at your system that will make weak parts rattle and hum; you don't want to hear that.

Not everyone is a fan of his solo discs, but these really are special. His noise is generally at a minimum, in terms of frequency, but due to the miking, you'll hear him quite clearly when he does. Part of the process, of course. If these were Joe Sixpack's Etudes for Juveniles, the quality of the sound wouldn't mean much. If you didn't know he wasn't reading from a page turner, you'd swear he was.

2 people found this helpful

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M. E. Ethridge

Excellent set of concert recordings

Reviewed in the United States on January 3, 2017

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Excellent set of concert recordings. KJ clearly did not recreate the same music in these venues as he did at La Scala, and it is interesting to hear the choices he made in playing. Very moving and intellectually stimulating. Wonderful recording quality, too.

8 people found this helpful

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Jgus

A great addition to the long concept.

Reviewed in the United States on April 22, 2017

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What a find. I have always love Jarrett's long concept improvisation discs. These 4 concerts are amazing in that each one is so different from the others. Jarrett is a genius of imagination. The atmosphere is perfectly captured by the engineers, one really feels like one is there.

3 people found this helpful

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jorge vignettes

THE realy master piece as many "experts" have written abuot ...

Reviewed in the United States on March 31, 2018

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THE realy master piece as many "experts" have written abuot this Jarrett Solo album, a "must have" of all fans of this musician.

2 people found this helpful

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Prof @ PAU

Five Stars

Reviewed in the United States on January 10, 2018

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Outstanding performances

2 people found this helpful

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Ralf D.

Keith at his best! Excellent recording

Reviewed in the United States on October 8, 2017

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Keith at his best ! Excellent recording.

2 people found this helpful

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Sebastian Pirling

Grandios – ein sakraler Kosmos im Chaos!

Reviewed in Germany on November 9, 2016

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Dieses Jahr habe ich Keith Jarrett in München live erlebt (2016), und es war ein geradezu außerirdisches musikalisches Erlebnis. Wenn etwas das Prädikat "sakral" verdient, dann dies: der Neuschöpfung von Musik im Hier und Jetzt beiwohnen zu dürfen, einer Musik, die sich aus dem Gefühl des Gefühls- und Tonchaos' hindurcharbeitet zu einer strahlenden Schönheit, die dann auf einmal ebenso mächtig wie zerbrechlich im Raum steht. Große Musik.
Dass jetzt erst dieses gigantische Album mit vier CDs erscheint, auf dem Keith Jarretts Konzerte im Oktober 1996 in Modena, Ferrara, Turin und Modena versammelt sind, ist meines Erachtens kein Zufall. Denn diese Aufnahmen, von Keith Jarrett mit dem eigenen Bandgerät und nur wenigen Mikrofonen in penibler Aussteuerung ungefiltert und ungeschönt aufgenommen, präsentieren gleichsam Jarretts soloimprovisatorisches Schaffen wie im Brennglas fokussiert. Alles, was man bereits in den großen Alben zuvor gehört, erlebt und bewundert hat, vom legendären, jazzigen Köln Concert über die vertrackten Tokio-Aufnahmen, das barock-sphärische Paris Concert oder etwa das bestürzend atonale, aufreibende Konzert an der Mailänder Scala, all das findet sich in diesen vier recht intimen Konzertmitschnitten versammelt.
Dass Keith Jarrett sie jetzt veröffentlicht, zwanzig Jahre nach dem großen Bruch und einem mühsamen Neuanfang für ihn als Pianist, als Improvisateur, als Musiker, ja als Mensch, das ist wirklich ein Glücksfall. Und wer ihn in München erlebt hat, weiß: Heute ist Keith Jarrett noch weit mehr, als was man auf "A Multitude of Angels" hören kann!
Das Album wird von einem kleinen Heftchen komplettiert, in dem Keith Jarrett die Bedeutung dieser letzten vier Konzerte vor seinem Zusammenbruch erklärt, und in dem man einen der seltenen wörtlichen Einblicke in das Innenleben dieses Ausnahmepianisten erhält. Außerdem gibt es noch eine ausführliche Diskografie mit allen ECM-Aufnahmen aus nunmehr vierzig Jahren – da sind für jeden, Jarrett-Fan oder -Neuentdecker, noch Lücken zu füllen!
Diese Musik verlangt nach Zeit, und man sollte ihr Raum geben. Raum, den Jarretts Konzerte jedesmal aus dem Profanen in das Besondere entrücken.

40 people found this helpful

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Bruno Rampoldi

il fuoco dentro

Reviewed in Italy on October 13, 2019

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ho assistito a due concerti al teatro alla scala ed a quello di torino (nel cofanetto) oltre a diversi concerti in trio.
ascolto keith jarret da una quarantina d' anni e potrei non essere attendibile.
per me rimane , con pochi altri, un musicista imprescindibile.
ovviamente per chi ama la buona musica.
i concerti del cofanetto sono una testimonianza della geniale creatività di un pianista unico.

One person found this helpful

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Dr. Tim Parker

Jarrett at his best. A must-have for Jarrett fans.

Reviewed in Canada on January 21, 2017

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These are the last set of improvisation concerts Keith Jarrett made for ECM (in total, he did about 30 solo recordings for the label). Being the last set, there's two things at play here: one is his experience and maturation in the improvisation form, which reveals itself in the nature and depth of the music. The second is that, by this time, Keith was suffering from chronic fatigue, and both his playing ability and interest may have been lagging in the final tours. Considering he didn't perform in public after the last of these concerts, recorded in 1996, for two or three years gives you an idea of the scale of his fatigue.

In interviews in various magazines, Jarrett has described these four concerts as "the pinnacle" of his abilities and creativity. And that they truly are. I have every CD and LP ever issued by ECM of Jarrett's music, and I listen to them regularly, and I can honestly say that these four CDs are transcendental. This music is, for lack of a better word, intense. You get drawn into each of the lengthy (roughly 30 minute) movements, revel in the complexity and harmonic intricacies while marvelling at the way this music sounds. These are stupendous performances, certain to be the reference against which others are judged, and this box of 4 CDs is a must-have for anyone who's enjoyed any of Jarrett's solo performances.

Yes, Jarrett is vocalizing on these discs, and yes, it can be distracting, but that's a small price to pay for the brilliance exhibited here. This is Jarrett at his best. No question.

5 people found this helpful

Brian

Jarrett quasi al suo top

Reviewed in Italy on January 18, 2017

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Sono incisioni del 1996 e Jarrett fa delle lunghe suite. Oggi sarebbe più misurato nella lunghezza dei brani come nella perfezione di Testament.
Comunque c'è tutto quello che ci vuole per ascoltarlo e farsi anche un pò trasportare in questa sintesi di composizione/improvvisazione/tradizione.
Un geniaccio. Una musica imperdibile.
Unico difetto (non di Jarrett): l'mp3 scaricato è un pò difesttoso. Non sono andato in fondo alla cosa, quindi potrebbe essere stato un difetto della linea ma non sono un esperto, perchè subito sono arrivati i cd e ho scaricato sul pc da lì. Però se dovete acquistare solo l'mp3 meglio che chiediate lumi.

4 people found this helpful

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ian

heavy load

Reviewed in Germany on April 11, 2018

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this heavy tome with 4 long cds is very interesting and worth of attention. But the music is very weary on a listener and I could not manage to listen more than two of CDs. It is a welcome addition to my collection of Keith Jarrett albums, but if you want to stick to essential I recomend his first solo piano album, then Koeln Concert, perhaps Bremen/Lousanne and if that is not enough try very beautiful collection of multiple albums named Sun Bear Concerts, performed in Japan. I personally prefer that last one mentioned because it has fantastic passages of solo piano work. Of course Jarrett is much more and there is almost endless list of his albums in other musical formats. But as a listener I have only one life so must be picky.

One person found this helpful

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