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The Survivors' Suite
 
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The Survivors' Suite

26 juin 2007 | Format : MP3

EUR 9,99 (TVA incluse le cas échéant)
Commandez l'album CD à EUR 12,00 et obtenez gratuitement la version MP3.
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Détails sur le produit

  • Date de sortie d'origine : 9 mai 2000
  • Date de sortie: 26 juin 2007
  • Label: Universal Music Division Decca Records France
  • Copyright: (C) 1977 ECM Records GmbH, under exclusive license to Universal Music Classics & Jazz - a division of Universal Music GmbH
  • Métadonnées requises par les maisons de disque: les métadonnées des fichiers musicaux contiennent un identifiant unique d’achat. En savoir plus.
  • Durée totale: 48:05
  • Genres:
  • ASIN: B0025IIFV6
  • Moyenne des commentaires client : 4.7 étoiles sur 5 3 commentaires client
  • Classement des meilleures ventes d'Amazon: 41.048 en Albums (Voir les 100 premiers en Albums)

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Par kiki le 30 janvier 2010
Format: CD
Ce CD est un des "grands" Jarrett. Evidemment, ceux qui n'ont découvert le pianiste que récemment en trio et qui se délectent de sa 412ème version de "Autumn leaves" ou "My funny valentine" (ce que je peux être mesquin, parfois !!!) risquent d'être surpris à l'écoute de ce disque, expérimental et conceptuel, enregistré en Avril 1976 avec son "Quartet Américain" (Jarrett, Haden, Redman, Motian), surnommé ainsi à l'époque en opposition à son "Quartet Européen" (Jarrett, Garbarek, Danielsson, Christensen), qu'on peut entendre sur "My song", "Belonging", "Nude ants" et "Personnal mountains". Surpris, disais-je, car c'était l'époque merveilleuse ou le pianiste allait chercher au fond de son inspiration les plus belles notes et nous gratifiait à chacun de ses disques de petites perles. "Survivors suite" est un long chemin, quasi spirituel, qui commence par quelques percussion éparses et de longues plages de sax et flûte, avant que ne "rentrent" progressivement tous les instruments sur un thème angoissant et saisissant. Le début de la deuxième partie, carrément wild, débouche sur un somptueux chorus de piano (au moins on sait quelle est la principale influence de Lyle Mays !!) avant une fin en apothéose. Un disque superbe, à écouter avec attention pour nous rappeler que le bourgeois prétentieux (ce que je peux être méchant, parfois !!!) qu'est devenu le pianiste a été, il y a longtemps, un prodigieux musicien !
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Format: CD Achat vérifié
cet enregistrement est un tournant essentiel dans la production de Jarrett; après des enregistrements chez Atlantic un peu de guingois, on sent poindre là une vrai personnalité; son passage chez Miles lui a donné confiance, tout comme Corea et Hankock.
Je connais ce disque depuis la sortie, je l'avais en vynil, mais plus de platine!
L'état du cd: ok.
L'état de la boite: pas du tout, cassée, rayée, bref ça se change mais quand même.
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Par Un client le 23 février 2005
Format: CD
Au moment du 60 ieme anniversaire de la fin des camps ,
il est imperatif d'ecouter ce disque en hommage aux combats de tous les déportés .
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x9334ef18) étoiles sur 5 22 commentaires
32 internautes sur 34 ont trouvé ce commentaire utile 
HASH(0x8fa16024) étoiles sur 5 Transcendent 17 février 2004
Par Gavin Wilson - Publié sur Amazon.com
Format: CD
In my CD collection, I have many from the 70s and 80s whose qualities diminish each time I pull them out for another spin. ("What on earth did I see in that one??" is a familiar lament.)
Not the SURVIVOR'S SUITE. I must have played it a thousand times over the years, and each time I hear new things in this outstanding album. It's the usual purchase history: taped it off a friend at uni in 1977, persuaded my brother to buy it on LP in the vac, bought my own copy of the CD in the 80s, still waiting for ECM to reissue on SACD (or at least remastered) in the 00s.
Not for nothing was this voted the Melody Maker's Jazz Album of the Year in 1977.
I just finished playing it again today, and my area of intrigue is another tiny detail: was it over-dubbed? This would be unusual for a Jarrett album, but there are passages where Jarrett appears to be playing both soprano sax and bass recorder. (And you thought this was going to be just another piano album?!)
The extraordinary thing about this album -- which has always been in my all-time Top Ten -- is that there are passages which I regard as almost unlistenable. But those noisy, free-jazz sections serve only to accentuate the total beauty of the quiet pieces which follow them.
There is so much going on in this album. There's more than a hint of world music. Paul Motian's drum-playing is extraordinary, and a source of inspiration for anyone worried that their creativity might dry up in the forties. Haden's bass is fantastic -- utterly dependable whenever Jarrett needs to swing, yet rich in emotion when required to perform a solo or the closing coda of each track. Redman, though primarily a saxophone player, actually gets to play more percussion than sax on this album. Jarrett's piano -- particularly those long right-hand runs -- has never been better, but here he experiments with several other instruments -- soprano sax, osi drums (whatever they are), celeste and bass recorder.
This is the album that got me into jazz. It takes time to get into. My recommendation is to start by listening repeatedly to the rest of track #2 after Motian's drum solo.
Once 'into' this album, you will treasure it for life. I've known it for 27 years, and it never palls.
20 internautes sur 23 ont trouvé ce commentaire utile 
HASH(0x8fa16078) étoiles sur 5 A Masterpiece... 12 juillet 2002
Par A. Stan Davis - Publié sur Amazon.com
Format: CD
It is a personal requirement that I listen to this recording at least once a month. This music takes me to places I have never been before and I always return with a refreshed point of view. Jarratt & company explore the full range of human emotions on this beautiful masterpiece. From a soft and tender relaxing vibe to a full blown controlled rage, this music parallels the experience of life - its'ups and downs and ebbs and flows. It is something to experience often. The long winding suite starts out slow, builds to a boil and then mellows out before exploding into what can only be described as an emotional storm. When the music final ends, you have been through an emotional roller-coaster. I have over 25 Jarratt recordings in my collection and each one offers a diverse and unique listening experience, but this one goes to the proverbial desert island with me along with Wayne Shorter's "Native Dancer" and Miles Davis' "Kind of Blue. This recording is appropriately titled "Survivors Suite," because if you "get it" you will be completely exhaused after you "survive it" - but you will have a big smile on your face when you finish. After almost 25 years, this music is still fresh and exciting. Thanks for the experience Keith. Peace!
9 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x8fa164b0) étoiles sur 5 Outstanding 12 novembre 2000
Par Gavin Wilson - Publié sur Amazon.com
Format: CD
Keith Jarrett has recorded many fine albums, but this is simply the finest jazz record I know. It takes some getting into, but many people start with the beautiful piano run that starts at about 4:30 in Part 2. (This album has just two tracks, which may make it seem daunting.)
Jarrett worked with two quartets in the mid-70s: a European one with Jan Garbarek on sax, and this, the American one, with Charlie Haden on bass and Dewey Redman on sax. The differences between the two are enormous, but both produced wonderful albums.
On this, released after the US quartet had broken up, Jarrett experiments with the bass recorder and celeste, to entrancing, mystical effect. It seems ridiculous to suggest it, but could Jarrett have been trying to ape (purely in marketing terms) Mike Oldfield's 'Tubular Bells' by way of his multi-instrumentalism and two-tracks-to-an-album structure?
That is sheer whimsy. What is not in doubt is that from the moment you start getting into this album, you have before you many years of listening pleasure. If you like any sort of intelligent music and can cope with the occasionally raucous sax, you will love this album. Charlie Haden's bass coda at the end of each track are alone worth the price of the CD. Magnificent!
11 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x8fa1687c) étoiles sur 5 A little different 15 avril 2005
Par G B - Publié sur Amazon.com
Format: CD
This album is the best-known of the dozen or so recorded by Keith Jarrett's American Quartet, probably due to the fact that it appears on the same label as his most popular work (ECM). Though the group was often supplemented by one or two percussionists, only the group's core of Jarrett, Dewey Redman, Charlie Haden and Paul Motian appears here. It was recorded near the end of the group's 6 year life, and is arguably the last great album the group recorded. (They'd go on to record Bop Be and Byablue for Impulse, and the disappointing Eyes of the Heart for ECM.)

It's also, without a doubt, the most compositionally ambitious and dense album Jarrett made with this lineup. It's different in tone than their other albums -- there isn't too much of the free-wheeling looseness, funky gospel roots, vibrant swing, or general sense of fun that characterizes those recordings. Other elements of the group's sound appear here -- cascading rubato ballads (two of them on "Beginning"), the world-music-flavored collective improvisation that opens the album, free jazz (the first few minutes of "Conclusion"), and interplay between Redman's tenor and Jarrett's soprano saxophones. The suite even recycles a theme from an earlier album ("Great Bird", from Death and the Flower), though it's given a very different reading here. These elements might surprise someone who comes in expecting the Jarrett of the European Quartet, the Standards Trio or the marathon solo concerts.

As far as the performances, Dewey Redman is superb here. He gets four or five excellent solos, and his intense wailing over the rumbling rhythm section in the last few minutes is my favorite part of the album. Listening to his playing here reminds me what a great saxophonist he is -- Amazon's description of the "Texas-blues yearning that's as wide and long as the Lone Star state" is perfect. I think Jarrett has better performances on piano elsewhere, and with one small exception the Haden-Motian tandem never manages to cut loose like they do on other albums. Also, very annoyingly, Jarrett overdubbed a breathy bass recorder bit all over the album.

I don't think this is the group's best album -- it doesn't reach the peaks of their best work on Impulse, and I'd personally rather listen to Fort Yawuh, Mysteries or Backhand. (For a bite-sized sample of the Impulse work, check out Fort Yawuh. Otherwise spring for the two box sets that include all the group's work.) On the other hand, if you like Jarrett's more "serious" work on ECM then you might actually prefer the Survivor's Suite. Either way, it's definitely worth picking up and enjoying.
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x8fa16960) étoiles sur 5 one of Jarrett's finest 19 mai 2012
Par Lance B. Sjogren - Publié sur Amazon.com
Format: CD Achat vérifié
Keith Jarrett has done a mind boggling amount of jazz recordings, perhaps the greatest body of work by any jazz artist ever.

As I build up my jazz CD collection, Jarrett was the first artist I actually had to run a printout of his discography off of wikipedia so I can keep track of which of his albums I have acquired by checking them off when I acquire them.

I think it would be very difficult to identify any one recording as Jarrett's finest work, but in the case of some albums it is self-evident that they are masterpieces and at least co-equals among his best works.

Survivor's Suite falls into that category of "masterpiece".

Some of the attributes that to me make this album so good:

1). It is a lengthy piece that has a comparable grandeur to the best of Jarrett's live solo works.

2). That sort of epic composition, but in a group setting, gives the album a fairly unique character among Jarrett's works.

3). Since it has a name and is played by a group, I assume that it is an actual composition rather than an improvisation as in the case of Jarrett's solo concerts. While the latter are incredible compositions, they do often tend to wander thematically and sometimes end quite differently than they began. In contrast, Survivor's Suite has a coherence of structure that to me renders it one of the best, if not the best, Jarrett composition.

The album has an abundance of beautiful piano solos that we come to expect with Jarrett's work. The rest of the band are excellent, and Dewey Redman distinguishes himself as a soloist of comparable virtuosity on the sax as Jarrett is on the piano.

It's really hard to avoid a lot of superlatives when discussing this album.
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