Since 1993, when the violinist Michelle Makarski participated as a soloist in his neoclassical compositions for "Bridge Of Light", Keith Jarrett and the American violinist worked again together at irregular intervals. The six sonatas for violin and piano (BWV 1014-1019) by Bach, they played frequently together privately or in front of a small audience, so it made sense for the classical branch of ECM, "New Series", these works also "officially" once einzuspielen. The result is wonderfully harmonious music (thankfully was dispensed with the harpsichord in favor of the wing), the behind the recording of sonatas by Frank Peter Zimmermann and Enrico Pace of 2007 does not need to hide - even if (! Or precisely because) the individual sentences play tend to have a slower track of Jarrett and Makarski. None of the instruments tried each to dominate the other, there is an equal dialogue of sovereign voices. The Adagio sound never mushy, as I've heard it in other recordings. What is not everything already herumkritisiert to Keith Jarrett as interpreters of classical music! As a jazz musician he could not play classical music appropriate. He plays only good note for note from, etc. What nonsense! Keith Jarrett had a classical piano training behind him before turning to jazz, and has time and again just studied and cared for throughout his musical creativity Baroque music. His improvisation in jazz understanding is also influenced by the classical music tradition ago. A master of the keys remains a masterpiece: I recently the Chinese Lang Lang hear the play "Rhapsody in Blue" by Gershwin, whose "jazzy" passages he interpreted as brilliant and expressive, that me all dogmas of "U" - and "E" -Klavier now appear ridiculous, if true masters at work. Keith Jarrett is one.
