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A great musical experince: Keith Jarrett Trio Jazz in Copenhagen ’99

Keith Jarrett Trio Jazz in Copenhagen ’99 (sheet music)

Keith Jarrett – piano
Gary Peacock – bass
Jack DeJohnette – drum

00:00 Hallucinations

05:57 Doxy

13:51 Only the Lonely

20:02 Between the Devil and Deep Blue Sky

28:48 Sandu

36:42 All My Tomorrows

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Copenhagen Jazz Festival

Copenhagen Jazz Festival is a jazz event every July in Copenhagen, the capital of Denmark. Copenhagen Jazz Festival was established in 1979, but beginning in 1964 Tivoli Gardens presented a series of concerts under the name Copenhagen Jazz Festival with Thelonious Monk, Miles Davis and many others.

According to reports,[1] the total attendance was 240,000 people during Copenhagen Jazz Festival in 2004. In 2006 the number of concerts increased to 850,[2] and today Copenhagen Jazz Festival numbers more than 100 venues, 1100 concerts, and approximately 260,000 guests,[3] making it one of the largest music events in Europe.

Musicians who have performed at the Copenhagen Jazz Festival include Sonny Rollins, Oscar Peterson, Ray Charles, Michel Petrucciani, Niels-Henning Ørsted Pedersen, Keith Jarrett, Wayne Shorter, Dizzy Gillespie, John Scofield, Herbie Hancock, Pat Metheny, Michel Camilo, Ornette Coleman, Annette Peacock, Svend Asmussen Quartet, Richard Bona, Tony Allen, Chick Corea and Daniel Puente Encina.

History

The founding of Copenhagen Jazz Festival in 1979 is closely linked to the jazz scene that evolved in Copenhagen in the 1960s, when the city served as a European home for American jazz musicians like Dexter Gordon, Ben Webster and Kenny Drew. An inspired music scene attracted even more American musicians and educated and inspired the whole Danish scene as well.

Through the 70s jazz music expanded in terms of genres and audiences, and reaching 1978 lawyer and project manager Poul Bjørnholt (from Københavns City Center) took the initiative to Copenhagen Jazz Festival, when realizing how local jazz clubs, public spaces, theaters and large venues could contribute to this collaborative event.

From 1979 and until the 90s the festival grew at a steady pace – making room for both international artists and local bands – and today Copenhagen Jazz Festival is its biggest ever with more than 100 venues in Copenhagen and over 1000 concerts. That makes Copenhagen Jazz Festival one of Copenhagen’s most important public festivals, attracting a broad international audience.

1999 Concert

Keith Jarrett, Herbie Hancock, Tony Bennett, Dianne Reeves, Ralph Izizarry & Timbalaye, Gary Peacock, Jack DeJohnette, Thomas Franck Quartet, Chick Corea & Origin feat. Gary Burton, Ed Thigpen Trio, Niels-Henning Ørsted Pedersen, Svend Asmussen, Palle Mikkelborg, Adam Nussbaum Trio, Ginman/Steen Jørgensen, Tys Tys.

More information on Jazz in Coopenhagen (DK).

Keith Jarrett and Denmark

Keith Jarrett was known, respected and loved by the Danish jazz public – as he also was but lovers of classical music – for with Michala Petri he recorded in 1992 six Bach flute sonatas, and in 1999 flute sonatas by Händel. The year that Michala Petri received the Sonning Music Prize, Jarrett had just been in Copenhagen to give a concert, but he had in fact been here several times since 1966, including a concert in Tivoli Concert Hall and at the Copenhagen Jazz Festival in 1999, when he gave a concert in the Circus Building, Copenhagen with great success.

The daily press

wrote, among other things:

“It was a revitalised Keith Jarrett who first received the Sonning Music Prize with the words: ‘Well, that’s nice’ and then sat down at the black Steinway, where he through his playing demonstrated what he had said in his speech: that he had not been put on this earth to receive prizes but to translate music […] Jarrett was very much alive. Almost danced at his grand piano. Got up, bent at the knees, ducked down, stood on tip-toe, sat down on the stool again. Improvised so the hairs rose on the back of one’s neck. And constantly emitted his characteristic laments during his playing. Was serious, yet went as far as to parody Victor Borge […]”

(Ivan Rod, Jyllands-Posten)

“Jarrett has a fantastic touch, a fluid and light playing style that allows him to be present even in the most diminutive ballad playing – yes, even when he scarcely touched the keys in Peacock’s and DeJohnette’s solo he could be noticed. Always curious to explore just how far the elastic could stretch, how far out he could entice himself and his musical companions. For almost two hours the elastic was stretched to breaking point, but not once did it snap.”

(Anders Jørgensen, Information)

“[…] At times he stands up when he is playing, at other times he is completely hunched over the keys. In that way he is part of his heart-rending phrasings, taking them further than the listener at first imagines, in the same way that a singer can impress one by singing incredibly long phrases at a single breath.”

(Eva Hvidt, Kristeligt Dagblad)

“[…] And yes, the trio comes in and goes out, and goes out and comes in to receive the standing ovation of the audience, and fortunately the three musicians return to their respective instruments. And yes indeed – here comes the loveliest imaginable interpretation of Victor Young’s beautiful ‘When I fall in Love’. The trio takes us on a fairytale excursion that is rounded off by Keith Jarrett – unaccompanied. A quite unique postlude that saves stars – at the finish.”

(Kjeld Frandsen, Berlingske Tidende)

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Rachmaninoff: Piano Concerto No. 3 with sheet music

Rachmaninoff: Piano Concerto No. 3 with sheet music, Alexis Weissenberg, piano, Chicago Symphony, Georges Prêtre, conductor.

[0:07] I. Allegro ma non tanto [16:37] II. Intermezzo. Adagio [28:19] III. Finale. Alla breve

rachmaninoff free sheet music & pdf scores download

Sergei Rachmaninoff: Piano Concerto No. 3, Op. 30 in D minor

1. Allegro ma non tanto (16:25)

2. Intermezzo: Adagio (11:42)

3. Finale: Alla breve (14:54)

Alexis Weissenberg, piano

Chicago Symphony Orchestra – Georges Prêtre, conductor

Original LP:  RCA  LSC-3040 (1968)

CD re-issue:  BMG Music (RCA Gold Seal)  9026-61396-2 (1993)

Original liner notes by Alexis Weissenberg:

It was Rachmaninoff’s own recording of the concerto that revealed the work to me for the first time.  I remembered this quite suddenly and with extraordinary precision the day, in Chicago, we sat listening, exhausted and happy, Jack Pfeiffer, the RCA technicians, Georges and I, to the final takes of the last recording session. 

We had worked hard and well for two long days, and thanks to the orchestra’s constant enthusiasm and cooperation of the highest professional quality the recording had been finished in record time.  For each one of us the work was done, another record had been born.  But for me, that late afternoon, it was a little more than that; in fact, it was a long-time dream that had suddenly come true.

It is often a pity that, with time, one tends to forget the moment when one first came into contact with a new work.  While later performances of that work can have their ups and downs and be more or less exhilarating, nothing is, in a way, more thrilling, more exciting to an interpreter than his first discovery through listening or sight-reading. 

Later, of course, when fully assimilated and completely re-created through the compulsive nature of one’s talent, imagination and temperament, the work becomes such a part of oneself, such an unconditional fragment of one’s creative nature, that one tends to feel, logically, that the composition somehow never existed away from one.  This, actually, is a conviction that is essential to re-creation.

But that first moment, that spine-thrill of love at first sight, holds infinite magic in it.  I must have been 7-8 years old, not more.  Already, music was not part of my life, I had become part of its life.  Everything connected with musical sound — harmonies, rhythms, melodic lines — had already established itself in me, and around me, as an absolute climate of self-expression and unlimited exploration for the rest of my life. 

Recordings by Hoffmann, Horowitz, Rachmaninoff and Backhaus had become vitally important, and the days when after a long and wonderful piano lesson I would go with my teacher Wladigeroff to his brother Luben’s house to listen to them were anticipated with the same tension and excitement as birthdays and Christmas.  It was at Luben’s that I first heard the Rachmaninoff Third, recorded by the composer.

Every child who is studying the piano seriously and has at heart the ambition to make it his professional career knows what it is to daydream, or sit awake nights “night-dreaming,” about his first public appearance, in what seems a hundred years from then, at a gigantic plush-gilded concert hall packed with millions of people, looking like a jumbo-size penguin, seated in front of a monstrous jet-black concert grand with the biggest sound ever, surrounded by the largest and greatest (in that order!) orchestra, and with probably God conducting, playing the. . . . .

It had been the Tchaikovsky B-Flat for me too, of course.  Until then.  And then came the Rachmaninoff Third.  I can still see myself, barely sitting on the edge of a chair in Luben’s library, my heart pounding faster and faster, my eyes wide open (my mouth probably too), listening incredulously to what seemed then the discovery of the Concerto of all Concerti, and reliving through the scene described above up to the last thunderous applause that brought an apocalyptic end to an unmeasurable dream!  Wladigeroff laughed heartily — “You’ll play it someday.”

That night I didn’t sleep for the very opposite reason.  I thought, “I’ll never be able to play it.”

Six years later, in Jerusalem, I saw the piano score in a music store and bought it.  Reflexively, the same fantasy switched on automatically, but by then an instinctive teen-age censorship had brutally readjusted certain details regarding qualifications, plush-gildedness, quantities, enormities and the final result. 

A first and unhappy attempt at sight-reading a visually frightening score did not help much in altering a pessimistic climate.  Instead, I bought the Horowitz-Coates historic recording and listened to it day in, day out.  It still remains a favorite, and by a wonderful, sentimental coincidence the first live performance of the concerto I heard was by Horowitz with Reiner and the New York Philharmonic in a memorable concert.

It was only during the winter of 1946, when I commuted between Philadelphia and New York to study with Samaroff at Juilliard, that I first seriously tried my hand at the concerto.  I had decided to present the Rachmaninoff Third with the Brahms Second and the Chopin E Minor at both The Philadelphia Orchestra Youth Contest and the Leventritt Award Competition that same year.  Madame Samaroff gave me my first opportunity to play the concerto with a second piano two months before the Leventritt Eliminations started, at one of her weekly Leyman Courses at Town Hall. 

That was an excellent occasion for me to loosen up the work interpretively and to let it breathe some fresh air after the long weeks of applied hard labor.  It was also at that concert that I met William Kapell, who came backstage and soon became a close and invaluable friend.  To me, Willie gave one of the finest and most exciting performances of the Rachmaninoff Third I have ever heard, in Boston with Koussevitzky.

The following year, in 1947, as winner of The Philadelphia Orchestra Youth Contest, I had the great privilege of playing the concerto under Eugene Ormandy with The Philadelphia Orchestra.  That particular concert also marked the beginning of my career in America — my early career in America, that is.

That same year, just after the Leventritt Award and during my first coast-to-coast tour of the United States, I was called upon as a last-minute substitute for Vladimir Horowitz, suddenly taken ill, in Pittsburgh, in the same concerto.  I also made my European debut with the Rachmaninoff Third, in Paris in 1950 with the Orchestre du Conservatoire at the Théâtre des Champs-Élysées.  The year after, I had an exciting collaboration in the concerto with Bernstein and the Israel Philharmonic.  That same year I made my debuts with it both at La Scala of Milan and at the Colón in Buenos Aires with Celibidache.

Recently, after a self-imposed and necessary sabbatical over a period of ten years for work and meditation and a restrained amount of public appearances, I reopened my career with the New York Philharmonic at Lincoln Center, and chose to make my comeback with the Rachmaninoff Third for reasons more sentimental than superstitious, although the concerto had in the meantime inevitably become a mascot in my life.

By this time I have, of course, long since revised my speculations and considerations as to which is the Concerto of all Concerti, and the two Brahms, the Fourth and Fifth Beethoven, the Mozart K. 271 and K. 491, the Bartók Second and a few others have alternately exchanged or shared the place of preference in my creative enthusiasm and musical needs, but the Rachmaninoff Third has kept, and will keep forever and without the slightest doubt, a place apart in my heart. 

I still think it is the most gloriously written concerto for the piano, find it as thrilling and exciting to hear and perform as I did years ago, and I find very appropriate and rewarding this first opportunity I have had not only to give it all due credit for the often decisive part it has played in my artistic life but also to dedicate to it my unlimited and everlasting gratitude.

—Alexis Weissenberg

Paris, June 1968

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Chet Baker My Funny Valentine – Chet Baker in Tokyo LIVE!

Chet Baker My Funny ValentineChet Baker in Tokyo LIVE!

chet baker free sheet music & scores pdf
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John Lennon dies (8 December 1980)

John Lennon was shot and killed on this day at the entrance of the Dakota building, New York City, where he lived with his wife Yoko Ono. He was 40 years old.

Lennon began 8 December 1980 with breakfast at 7.30am at La Fortuna’s, New York City. At 9am he visited a local barber shop where he had his hair cut into a 1950s-style quiff. At around 9.45am he returned to his home at the Dakota to give an interview to Dave Sholin, Laurie Kaye, Ron Hummel and Bert Keane for an RKO Radio Network show.

The interview lasted 90 minutes. In the early afternoon Rolling Stone photographer Annie Leibovitz arrived at the Lennons’ apartment for a photo session, which lasted from 2-3.30pm. One of the images, of a naked Lennon lying on a clothed Yoko Ono, was the last ever taken of the couple together.

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Lennon and Ono left the Dakota at 5pm with the RKO team. Before they entered their car, Lennon was stopped for several people seeking autographs, among them 25-year-old hospital worker Mark David Chapman. Lennon signed Chapman’s copy of Double Fantasy, after which he asked, “Is this all you want?” Chapman nodded in agreement. The encounter was photographed by Lennon fan Paul Goresh.

At the Record Plant Studio at 321 West 44th Street they mixed Ono’s song Walking On Thin Ice, which featured Lennon on lead guitar. During the evening session Lennon also telephoned his aunt Mimi in England, and record label owner David Geffen called by with the news that Double Fantasy had been certified gold in its first two weeks on release.

The recording session came to a close at 10.30pm. Lennon and Ono discussed going for a meal at Stage Deli, but decided to first return to the Dakota to say goodnight to five-year-old Sean Lennon. Their son was being minded by Helen Seaman, the aunt of their assistant Fred.

Although it was late on a December night, the outside temperature was unseasonably warm. Lennon and Ono decided to stop their limousine at 72nd Street and walk the remaining short distance, despite a secure courtyard being available to park in at the Dakota.

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Lennon walked a couple of paces behind Ono. As he approached the archway leading to the Dakota’s courtyard, Mark Chapman emerged from the shadows. The time was 10.52pm.

Chapman is said to have adopted a combat stance and fired five hollow-point rounds at Lennon from a Charter Arms .38 Special revolver. One bullet missed, passing over Lennon’s head and through a window of the Dakota building. Two struck Lennon in the left side of his back, and two others penetrated his left shoulder. At least one of these pierced his aorta.

Lennon staggered up six steps to the Dakota’s reception area and said “I’m shot,” before collapsing. The tapes from the earlier recording session, which Lennon had been holding, were scattered across the floor. The other witnesses to the shooting were an elevator operator, a New York taxi driver, and the passenger he had just dropped off.

Duty concierge Jay Hastings immediately triggered a police alarm before covering Lennon with his blue Dakota uniform and removing his glasses. Yoko Ono cradled Lennon’s head as he whispered “Help me”, with blood pouring from his mouth. Hastings attempted to reassure him, whispering, “It’s okay John, you’ll be all right.”

Outside the Dakota, doorman Jose Perdomo shook the gun from Chapman’s hand and kicked it out of reach. “Do you know what you’ve done?” he shouted, to which Chapman calmly replied, ‘Yes, I just shot John Lennon.” The gun came to rest in nearby bushes, close to Chapman’s autographed copy of Double Fantasy.

Chapman removed his coat and hat in preparation of the police arriving, and stood to the left of the Dakota archway on West 72nd Street. He began reading a copy of JD Salinger’s 1951 novel The Catcher In The Rye, inside which he had written: “To Holden Caulfield. From Holden Caulfield. This is my statement.”

John Lennon dies

Monday 8 December 1980

The first NYPD officers to arrive on the scene were Steve Spiro and Peter Cullen, who had been on patrol at Broadway and 72nd Street when the first calls about the shooting came through. Upon their arrival they drew their guns and shouted “Put your hands up” at the Dakota’s duty concierge Jay Hastings, who was kneeling by John Lennon and was covered in blood. “Not him,” Perdomo told them. “He works here. He’s the one,” he said, pointing to Mark Chapman.

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Spiro and Cullen forced Chapman against a wall of the Dakota building, searching him for concealed weapons. “Don’t hurt me, stay with me,” he asked the officers. The search revealed keys, the copy of The Catcher In The Rye, and a wallet containing $2,000 in cash. Spiro handcuffed Chapman, and Perdomo recovered the gun and handed it to his co-worker.

Fellow officers Bill Gamble and James Moran arrived and, seeing that the suspect was under control, rushed inside the Dakota. Against Yoko Ono’s wishes, Gamble turned over Lennon’s body to determine the extent of his injuries. “What is your name?” he asked. Although he struggled to reply, John eventually managed to say: “Lennon”.

Realising that his injuries were too severe to wait for an ambulance, Gamble and Moran carried Lennon to their car. Moran took Lennon legs and Gamble carried him by his underarms, and they placed him on the back seat. Gamble kneeled by his side as Moran drove at 50mph speeds to the nearest emergency hospital, St Luke’s Roosevelt on West 59th Street.

Gamble attempted to keep Lennon conscious by talking to him. “Are you sure you’re John Lennon?” he asked. “I am,” came the reply. “How do you feel?” “I’m in pain,” he is reported to have said.

Moran had contacted the hospital as he drove. Behind them was another police car, driven by Officer Anthony Palmer and containing an increasingly hysterical Ono.

Upon their arrival at the hospital a rolling stretcher was waiting. Medical director Dr Stephan Lynn took Lennon into the emergency room, while Ono called the Dakota to check on their son Sean’s safety. Lennon had no pulse and wasn’t breathing, but for 20 minutes Lynn and two other doctors opened his chest and attempted manual heart massage to try and restore circulation.

Despite the hospital’s attempts, including blood transfusions and surgery by highly-trained staff, they were unable to save him. Dr Lynn pronounced John Lennon dead on arrival in the emergency room at the Roosevelt Hospital at 11.07pm on 8 December 1980.

Lynn informed Ono at 11.15pm. “He never stood a chance,” he said. “Nothing we were able to do could revive your husband. We believe the first bullet killed him. It ripped through John’s chest causing irreparable damage to a major artery.” In a state of shock, Ono asked him: “Do you mean that he is sleeping?”

The cause of death was reported as hypovolemic shock, caused by the loss of more than 80% of blood volume. The hollow-point bullets used by Chapman expanded upon entering the body, causing irreparable damage to Lennon’s organs.

The news of Lennon’s death broke on WABC TV’s Monday Night Football. The producer, Bob Goodrich, told host Howard Cosell, who announced it on-air during a televised match between the New England Patriots and Miami Dolphins.

NBC announced the news during The Tonight Show Starring Johnny Carson; the show was interrupted by a news bulletin. On CBS Lennon’s death was reported by Walter Cronkite and reporters.

At the Record Plant Studio, producer Jack Douglas had continued work on Walking On Thin Ice. His wife informed him of Lennon’s death at 11.35pm. The news sent him into a state of shock, and he decided to wipe the tapes of studio banter between him and Lennon recorded that day. He has never revealed the precise nature of their conversations.

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John Lennon’s sheet music is availablie in our online Library.