(…)
In a packed auditorium, Maki Namekawa walks alone onto the stage and plugs in her tablet to follow the score of this piece, which was originally completely improvised but, following the recording, has become something of a “composition.” Let’s close our eyes and let ourselves be swept away by the music. Maki chose the first movement, the best known, repeating the beloved ostinato that many of us in the audience have listened to on repeat. The magic takes hold; the hall listens intently. Then Maki gradually asserts her personal style; the notes are more “struck,” she is fully immersed in the work, with flashes of brilliance at moments of her choosing, tapping the beat with her heel, using right-hand vibrato, emphasizing the lyricism in certain passages with great soul, then “chopping” the notes in others toward a final acceleration on this repeated “leitmotif.” The audience goes wild with thunderous applause, to which she takes two bows!
(…)
Maki Namekawa returns to the piano for the final movement (Track 3 on Keith Jarrett’s album), which she begins with mastery; then the notes become more jarring, at times more vibrant, leading to a finale that is rightly celebrated!
(…)
May 4, 2026
https://lagazettebleuedactionjazz.fr/the-koln-concert-auditorium-de-bordeaux/