Keith Jarrett: New Vienna

The evening began with extraordinary anticipation as the Golden Hall filled to capacity, creating an atmosphere of reverent expectation for what many in the audience understood would be a rare opportunity to hear one of jazz's most celebrated improvisers in an optimal acoustic environment. However, the concert's opening moments quickly revealed the dynamics that often characterize Keith Jarrett's live performances, as the pianist's demands took center stage in a dramatic standoff with audience behavior.

Upon entering the stage to enthusiastic applause, Keith Jarrett immediately declared: "I will not play a single note until the two people who just took a photo leave this concert hall. If you're sitting beside them, urge them to leave or I won't play." This ultimatum, delivered with the intensity of what one observer characterized as "a toddler mid-tantrum," led to Jarrett's exit from the stage and the return of house lights, creating a tense atmosphere in the packed audience.

The standoff continued long enough for some members of the audience to begin considering the venue's refund policy before a man from approximately the twenty-fifth row voluntarily left the auditorium, to allow the performance to proceed. The whole atmosphere had changed from one of anticipatory adulation to one of tense and wrought anxiety.

"New Vienna" presents a suite of distinct parts, each a world unto itself.

"Part 1" Jarrett started the first piece sounding like Cecil Taylor, at least as much like Cecil Taylor as Jarrett allows himself. Soon Jarrett exerted control and the piano thunder subsided. There was still aggression, and it eventually turned into what sounded like metallic raindrops pattering on glass. This was the longest section of the performance.

"Part 2" Meditative. There is beauty in the construct. What is in Jarrett's mind as he builds this? What is in the minds of the audience? There is a kind of religiosity here. This processional music creates sound pictures. The mood is maintained for the whole track.

"Part 3" A rhythmic pattern develops with the left hand and right hand working independently. Two streams of thought clashing, a strange kind of counterpoint. There is a driven, relentless motif building. The ending is abrupt, as if he tires of the direction he has taken.

"Part 4" Quietly a simple melody, almost a refrain, is evolving and emerging. Suppressed romanticism could be a hymn leading to a surging triumphalism and a peaceful resolution.

"Part 5" seems to have been affected by the mood of the previous piece. The subtle structure opens the piece out with rippling notes over the very gentle rhythm. The second part is resolved when Jarrett discovers the theme. Gentleness is all. The mood of anger at the beginning seems to have dissipated.

"Part 6" Abstractions gliding to and fro. Counterpoint with the right hand dominant. An emphasis on the high keys is played off against the middle keys.

"Part 7" Tentative opening leading to a different rhythm. This is almost a lullaby, morphing into sheer pianistic artistry. Does Jarrett evade sentimentality? This skirts the edges of mawkishness at times. Recovering and edging towards Tchaikovskian grandeur.

"Part 8" Almost a reaction to the last piece, changing the mood completely, surging boogie, almost a crowd pleaser. Played with complete artistry.

"Part 9" Country music with a defined rhythm, clouds drifting over the Blue Mountains. You can hear a composition evolving as the piece progresses. This is Americana writ large.

Then, to finish, there is "Somewhere Over the Rainbow." This is not a sardonic take on the piece like Archie Shepp on "The Shadow of Your Smile" or Thelonious Monk's gently derisive "I'm Getting Sentimental Over You." No, this is played straight with occasional creative embellishments. The question is: what does the encore tell us about what went before? That was ephemeral music. Why play this with its echoes of Judy Garland, Eva Cassidy, and even Cliff Richard? What is it meant to make the audience feel? A bonbon for good behaviour?

Jarrett is a remarkable pianist. He holds his audience in thrall. In 2016, he was at a peak with solo concerts in Europe performed in Budapest, Vienna, Rome and Munich. He was brave and daring to face an audience with no preparation, just his wits and musical creativity to sustain him. All those who ventured to his concerts were aware of his diva tendencies. Most of them were prepared to forgive him or even secretly to enjoy the totemic tantrums.

There is an added frisson to this album's release with Keith Jarrett's eightieth birthday being celebrated. The health problems he has suffered in recent years suggest that there will be no more solo concerts.

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