Keith Jarrett: Carl Philipp Emanuel Bach
ECM New Series

Keith Jarrett possesses the rarified status of having distinguished himself in not one but two realms, jazz and classical. His participation in Miles Davis's ensemble during the revolutionary period that culminated in Bitches Brew, the ‘70s ‘American Quartet' albums he issued with Dewey Redman, Paul Motian, and Charlie Haden, the celebrated solo piano albums (1975's The Köln Concert perhaps the best-known), and the ‘Standards Trio' recordings with Gary Peacock and Jack DeJohnette collectively testify to his singular achievements as a jazz artist.

But having established himself as a major force in that area, Jarrett impressed even more by showing he could handle classical repertoire too. His staggering discography features recordings of music by Johann Sebastian Bach, including The Well-Tempered Clavier and The Goldberg Variations, and other releases from that time feature works by Mozart, Shostakovich, and Lou Harrison. That Jarrett was able to move back and forth between the realms so easily is itself remarkable. Apparently, mere weeks after recording the Württemberg Sonatas by Bach's son Carl Philipp Emanuel (1714-88) at his Cavelight Studio in May 1994, Jarrett was at NYC's Blue Note performing standards with Peacock and DeJohnette.

Jarrett suffered two debilitating strokes in 2018 and, currently only able to play with his right hand, won't probably perform again. With the prospect of new recordings unlikely, it's understandable that earlier unreleased material would be considered, and this C. P. E. Bach set was a natural choice. Part of the motivation for performing these sonatas was that Jarrett had heard them played by harpsichordists and believed “there was room for a piano version.” Written in the early 1740s, the Württemberg Sonatas are considered today masterpieces of their time.

Performed 250 years after their 1744 publication, the sonatas sound fresh in Jarrett's hands. Attending meticulously to contrasts in mood, tempo, dynamics, et al., the pianist brings the six three-part settings vividly to life. There's playfulness, solemnity, and jubilation, and all of it executed with delicacy, precision, and feeling. Any hardcore classical purist questioning whether Jarrett's up to the task should proceed directly to the "Allegro assai” of the A minor sonata where his fleet fingerwork dazzles in all the right ways. It's hardly the only thing that recommends the first sonata: the “Moderato,” abundant in trills and runs, receives a graceful rendering, and the dignified hush with which he delivers the “Andante” is affecting.

The “Allegro” and “Vivace” in the E minor sonata sparkle as vibrantly; whereas the B-flat major fourth sonata features some of the set's prettiest moments, the “Allegro” in the E-flat major fifth appeals for its regal character, the “Adagio” for its serene air, and the “Allegro assai” for its exuberant spirit. At album's end, the “Moderato” that introduces the B minor sixth is delivered with poise, the “Allegro” with requisite gusto.

October 2023