Keith Jarrett and Johann Sebastian Bach go back a long way. Between 1722 and 1742, Bach composed two sets of preludes and fugues in all twenty-four major and minor keys, written for keyboard; the clavier was—at that time—a broad description taking in the harpsichord, clavichord, and organ. ‘The Well-Tempered Clavier—Book I’ is a live version of Jarrett's 1988 ECM studio release of the same name. […]. This live version of ‘The Well-Tempered Clavier—Book I’ should appeal to anyone who appreciates a great musician.
Karl Ackermann, All About Jazz
Going through each major and minor chord, Jarret takes Bach’s material, and while adhering to the essential discipline of the sound, adds a slight dash of pulse and syncopation that gives a bit of life to the 250 year material. There is a dance feel to the C major and E major themes that gives a modernity without detracting from the inherent beauty. Through the entire concert, Jarrett displays deep respect, but also an inquisitiveness that is alluring. This one is a keeper of a flame, and a keeper on its own.
George W. Harris, Jazz Weekly
Jarretts verzichtet auf jeglichen interpretatorischen Tand. Weder stellt er übertrieben Virtuosität aus oder wählt extreme Tempi, noch forciert er dynamisch oder zelebriert andere Spielarten pianistischer Exzentrik. Jarretts Bach ist ausschließlich der eminenten Faktur, der Pureness der Werke verpflichtet.
Martin Hoffmeister, Mitteldeutscher Rundfunk
Ein großartiges Dokument, aber keine Sensation. Jarrett hat nicht über Nacht vom Studio zur Konzertbühne seine Weltanschauung geändert. Sein Spiel ist wach, offen in alle Richtungen, wenig Pedal, aber nicht abstrakt – ein gereinigter Bach, der auf Extreme verzichtet. Das c-Moll-Präludium sitzt nicht im Transrapid, die Cis-Dur-Fuge knistert unter cembalistischer Trockenheit. Die cis-Moll-Fuge klingt, als gleite der Leser eines barocken Gesetzestextes mit vorsichtigen Fingern über die Buchstaben und begreife von Zeile zu Zeile deren immer stärkere Verbindlichkeit. […] die e-Moll-Fuge erinnert bei Jarrett in ihrer linearen, doch sehr modernen Energie an Strawinsky. So geht es durch den ganzen Zyklus: überlegt und überlegen, wandlungsfähig, jedes Stück auf den Kern befragend.
Wolfram Goertz, Rheinische Post
If there's an influence from his jazz background, it's audible in his tendency toward quick, driving rhythms. He is lively even in the slower fugues which has a satisfying effect, unless you tend toward either the Romantic or the purely historical interpretational extremes. Sample the F minor fugue for an idea. Although well-controlled, Jarrett's performances are never inexpressive, and you can listen to the whole set without the feeling of anything being repeated. It's not clear whether ‘Book II’ of the ‘Well-Tempered Clavier’ was recorded at the same session, but one is left hoping it was: Jarrett's deep immersion in the final B minor fugue almost seems a prelude to the second book. Highly recommended.
James Manheim, All Music
Technically perfect, but unlike Gould, Jarrett’s reading is straight-up Bach with no frills. Jarrett has said often of his interpretations—the composer’s music speaks for itself. Jarrett’s approach is much like Andras Schiff’s interpretation, also released on ECM in 2012. Like Schiff, Jarrett’s reading is meditative and his playing is clear and in control of the tempos. Bach’s ‘Well Tempered Clavier’ may be the most hauntingly beautiful music ever written—I’m not sure how anyone can live a life without hearing this. You can’t go wrong with Jarrett’s recording and I would strongly recommend purchasing this CD knowing that when you leave this earthly plane your spirit will be filled with this magnificent music.
Joseph Irrera, Offbeat Magazine
He never imposes himself in these restrained, elegant performances. Whether or not it’s fanciful to sense an improvisatory mood, this is playing of absolute dexterity and musical fidelity, recorded in a beautifully clear, clean acoustic with the energy of live performance.
Fiona Maddocks, The Observer
Jarretts Bach wird getragen von unbedingter Clarté, von Kontur und deutlicher Akzentuierung der ‘kontrapunktischen’ Verhältnisse. Sein Spiel, das Kategorien wie Demut, Kontemplation, Gleichmaß und Pureness reflektiert, lässt stets die eminente Dimension des Möglichen aufscheinen, ohne das Mehr respektive das Andere tatsächlich in Erwägung zu ziehen. Der Grenzgänger und Ekstatiker weiß um Brennwerte und Dialektiv von Reduktion wie kein zweiter. Insbesondere für pianistische Delikatessen, für Farbschattierungen, dynamisches Raffinement und aparte Anschlagsnuancen öffnet Jarretts Ansatz ein weites Feld. ‘Heilignüchtern’, hätte Hölderlin emphatisch ausgerufen.
Martin Hoffmeister, Gewandhaus-Magazin
Jarrett’s commanding technique and feel for composition is on full display. Whether it’s the flowing, hypnotic two-minute melancholic ecstasy of the C major Prelude or the animated punctuation of D major prelude and fugue, his intrinsic balance of crisp notation and restrained flourish is compelling. […] ). The entire performance grabs the listener and never lets go. ‘Keith Jarrett – The Well-Tempered Clavier, Book 1’ is a great example of a jazz musician who finds matching passion in classical music. As with all ECM live recordings, the acoustics are top-notch. The mic placement for the piano is balanced, with resonant clarity at both the upper and lower registers. The intimacy (even in a concert setting) is captured with deft subtlety.
Robbie Gerson, Audiophile Audition
Jarrett’s Bach is known for its cool temperature, restrained expression, even a slightly puritan approach. All of that is true here; what is more noteworthy is the clarity of his tone and voicing. This is poetic playing, but poetic in a wholly 18th-century sense: no dripping and drooling, but precisely formed slivers of of thought and slices of argument rendered at their purest.
Jessica Duchen, BBC Music Magazine
Cette version live se repaît d’un charme naturel qui met en valeur la transparence et l’expressivité de la polyphonie. […] son jeu lumineux et agile révèle une pensée fluide et libre à travers laquelle chaque prelude, chaque fugue se déploie comme un chant ondulant.
Melissa Khong, Pianiste
