Concerts: Bregenz/Munchen

キース・ジャレットの長らくCD化が待たれていた1981年録音のライヴ音源が遂にCD化！1981年5月、6月にオーストリアとドイツで行われたソロ・ピアノ公演を収録。過去アナログ盤でリリースされ、その後オーストリアでの公演は『ブレゲンツ・コンサート』としてCD化しましたが、ドイツの公演は初CD化となるファン待望の作品。キースのソロ・ピアノと言えば〈即興演奏〉だが、本作では即興演奏の他にブレゲンツとミュンヘンの公演でそれぞれ既に作曲していた楽曲（といわれている）“Heartland”を演奏し、ミュンヘンではフランスの短編映画『Mon Coeur Est Rouge』のために書かれた同名のオリジナル曲を披露。この2曲はキース本人も非常に気にいっている楽曲／演奏で、のちにプロモーション盤としてこの2曲を収録したシングル盤もプレスしたほど。“Mon Coeur Est Rouge”（英題：Paint My Heart Red）はその後、アルバム『カーネギーホール・コンサート』や阪神大震災のチャリティ・コンピレーション『レインボー・ロータス』にも収録されたが、このミュンヘン公演での音源は長らくCD化が望まれていた。

By the early '80s, Keith Jarrett was definitely under siege, accused of arrogance, singing along too loudly, rambling eclecticism, and other "heinous" jazz crimes, especially in the wake of the massive success of the Koln Concert seven years before, and the issue of the massive, unprecedented Sun Bear Concerts box set in 1978. Indeed, around this time, Jarrett would verbally attack music critics at his solo concerts, and the reflected paranoia is obvious in Peter Ruedi's defensive booklet essay included here, "The Magician and the Jugglers." This multi-disc set was recorded during two concerts over four days in the spring of 1981 in Bregenz, Austria, and Munich, Germany. This recording is not to be confused with the earlier, more consistently inspired Solo Concerts: Bremen/Lusanne from 1973, which made Jarrett a star, yet the pianist was far from tapped out in these performances. He is often in his best lyrically funky form, where he makes the most out of a single ostinato idea -- particularly at the beginning of the Bregenz concert and in the middle of the Munich concert -- and his touch and exploitation of the dynamics and timbres of a grand piano are always a pleasure to hear. Even the passages of stasis or seemingly aimless rippling do not cancel out the treasurable moments and have real worth -- though for some, the string plucking near the end of the Munich show may be somewhat gratuitous. In any case, this is far more interesting and elevated music-making than that of the New Age navel-gazing imitators who were cropping up in Jarrett's wake in the early '80s en masse, and adds immeasurably to the historically unique portrait of the artist. ~ Richard S. Ginell