The trio is fairly concise, even for concert guidelines nothing over 11 minutes , so the indulgence factor is virtually non-existent, and listenability is very high even for those who are challenged. The three gentlemen and incredible players are giving themselves totally to the music, swinging, in and out of the form, in a waving manner of conversation, elegant, fluent, strainless, simply beautiful. While the incessant vocal whining of the leader in accord with his playing is an issue, the way he sensitively interprets a familiar song is not. Then this album came out, and blew me away. The tunes, standards, of course, are given their new life, just as one expects from Keith Jarrett, Gary Peacock and Jack DeJohnette. And when he does improvise with the right hand, its statements are as often in 4ths and 3rds as single-note lines.
The sound on this record is among the greatest of all their recordings, live from Oslo Konserthus Concert Hall , so for any audiophile, this one is a must. This is as good as trio music got in the last century! The exchanges with Motian are asymmetrical--eight bars, 13 bars, sometimes in answer to the piano, other times to the bass. The second in the series, Standards, Vol. In 2008 the two albums, along with 1983's , were collected into a ,. Surely Manfred Eicher could have figured out how to block that out of the recording. Historically aware jazz fans will recall that Jarrett is hardly the first great pianist to habitually vocalize while at the keyboard---the inimitable Erroll Garner immediately springs to my mind---yet great he was, nevertheless, and so is Jarrett, being almost absurdly talented. This album is surely no less a showcase for that talent than are several others, and I would hope more people would be able to focus on that talent and not obsess on the vocalizations, which even if distracting, are a very tiny price to pay for such virtuosic music.
. While the incessant vocal whining of the leader in accord with his playing is an issue, the way he sensitively interprets a familiar song is not. Too Young To Go Steady — 10:11 05. You simply have to remember that you are listening to one of our finest jazz pianists, and make the small effort to block out the distraction. You will hear him singing along and singing is not his forte! While he would argue he wasn't aware of it, there are plenty of great recordings where this noise isn't as prominent. In a 2008 interview with the , Jarrett recalled his reasons for wanting to record standards.
Bassist and drummer easily match the bandmates and in terms of their telepathy, rhythmic savvy, harmonic ideas and supportive idealism. Finally, Bill brings it all together with satisfying and shining closure, doubling the melody in block chords yet still claiming it as his own as much as Cole Porter's--right to the end of the piece. In the midst of his huge solo piano efforts Koln Concerts, Sun Concerts , and his group improvisations Eyes of the Heart, Nude Ants , his ability to thrive in a standard jazz trio setting, playing standard jazz music seemingly got forgotten. All veterans of the group, they bring strong personalities to traditional jazz repertoire and the piano-trio form. Jarrett has always had a remarkable ability to wrench everything possible out of a melody, in the sweetest, funkiest, more harmonic fashion, and this album shows that, while he is accompanied by Jack DeJohnette and Gary Peacock -- 2 of the biggest names in modern jazz.
They propel 's advanced viewpoint in making well-known American popular songs all his own. If you're a seller, Fulfillment by Amazon can help you grow your business. Twenty years ago, when I first heard a Keith Jarrett album, I thought they were odd, and slightly distracting, but I very quickly got so used to them that they've long since ceased to be any distraction at all, being taken as no more than the applause at a concert or the crowd noise at a sporting event. The element of tension and surprise extends from the pianist's solo to the way the piece unfolds, with LaFaro's bass at no time slipping into a walking four during the 2nd take. For that session, as in subsequent, the trio did not rehearse or pre-plan their playlist.
His playing is heartfelt and beautiful. Jarrett approached Peacock and DeJohnette with the idea of performing standards, which was greatly contrary to the contemporary jazz scene of the early 1980s. The only drawback is Jarrett's histrionic keening during solos. Such stellar collective musicianship and their teamwork deems this recording worthy of any most recommended list. The former's is relatively straightforward and conservative--a clear statement of the theme, room for a bass solo, a piano solo, the 8-bar exchanges with the drummer and out; the latter's is by contrast at once revolutionary yet engaging, ceaselessly taunting the listener with the hint of a familiar theme whose title may not yet come to mind. Archived from on October 24, 2008. DeJohnette is not only completely supportive, but undeniably is reinventing the jazz swing rhythm through this whole concert.
Yes, I give the reording the full star rating. The force of the left hand matches the right, producing an improvisation that is as much about texture as a continuous melodic line. The standards trio is stunning here. The trio is fairly concise, even for concert guidelines nothing over 11 minutes , so the indulgence factor is virtually non-existent, and listenability is very high even for those who are challenged. Stella By Starlight — 11:17 02. As for all music fans, I would also like to say that this concert, to me, is one of the best, musically, waxed on record, in the more than 10-year lifespan of this band.
The two volumes present performances of pianist with on double bass and on drums. The Way You Look Tonight — 09:32 06. Bassist Gary Peacock and drummer Jack DeJohnette easily match the Evans bandmates Scott LaFaro and Paul Motian in terms of their telepathy, rhythmic savvy, harmonic ideas and supportive idealism. Falling In Love With Love — 08:43 04. But even with his moaning, this album boasts the single best performance of God Bless the Child. Originally released by , they have been multiply re-issued, including by.
Such stellar collective musicianship and their teamwork deems this recording worthy of any most recommended list. The Wrong Blues — 08:04 03. What more can I add about Keith Jarret's music? Perhaps I was just naive in thinking that my own reaction would be closer to the norm, but I must say, I'm surprised and even a bit disheartened to read that so many seem to find Jarrett's vocalizations to be such a detractant. The Old Country — 06:40. . .