Keith Jarrett's Standards trio

[BlueMiles]

The trio has been around for over 20 years, which might well make it the longest running group in jazz (without personell change). I know Jarrett is a bit of a divisive figure--probably more for his personality than the actual music.

I've been listening a bit "Tribute," which has its moments. But a great record? Probably not.

I have not collected a lot of the group. One of the best things I like is the free non-standards album "Inside Out."

I have to say I always like hearing Jack DeJohnette.

Any comments/recommendations?

[Scott Dolan]

At The Deerhead Inn

Standards In Norway

Live In Tokyo '96

Whisper Not http://www.jazzcornertalk.com/speakeasy/images/icons/icon14.gif


Those are the top four from that group in my book. I personally love the standards trio, but then again I'm just a huge piano trio fan.

[Enforcer]

I love this trio. They're one of the great piano trios of our generation, IMO. The musical empathy amongst the musicians is special, the kind that can only be cultivated by many years of playing together. Jarrett's behavior is ridiculous, but the music is too good to miss. This group's live performances are sublime.

[jazzy mary]

Good recs, Scott. Hey you're taking about music! Just kidding. I'm not a huge Jarrett fan. I actualy sold "Whisper Not" for peanuts at a used cd store not too long ago. Actually, probably a year ago. I wish I hadn't so I could have sent it for Dobie's CD Memorial. It's a good session, actually--just not my cup of tea.

Scott, if you like piano trios, are you hip to Anthony Wonsey? He's an absolutely wonderful pianist and I can recommend several of his cds.

[Enforcer]

Don't miss the At The Blue Note recordings on ECM. The 26 minute version of Autumn Leaves is beautiful.

[Darryl G. Thomas]

I probably own just about every release this trio's put out either in CD or LP. It's one of the few groups I buy "sight-unseen" (no reviews, no Jazz Corner recs). Scott's recommendations are excellent. I do like the Tribute double CD though.

Plus there's the box set of Jarrett's "American Quartet". Diffrent group, pricey, but worth checking out.

I guess I'm one of those "latte-slurpers" Bill Milkowski was taking about in the infamous "Overrated/Underrated" artocle in Jazz Times a way back.

[Scott Dolan]

Don't miss the At The Blue Note recordings on ECM. The 26 minute version of Autumn Leaves is beautiful.


I have one of the single discs from this set. Recorded on June 4th, which is my birthday! I can second what you are saying here.

This boxset has been on my "to get" list for far too long!!!


It's one of the few groups I buy "sight-unseen" (no reviews, no Jazz Corner recs).

Same here. I've often just seen an album of theirs that I didn't have while shopping for something else. I just pick it up almost unconsciously.

[cookie]

Deerhead Inn. I happened to be there that night on a whacky roadtrip.

Recently, I've been studying "It's Easy to Remember" from that disc. It's a great tune in one of the most expressive versions I've ever heard.

Besides the music, a highlight of that night was meeting Gary Peacock and Paul Motian. Mr. Jarrett was unavailable, but sheeit! So what.

[Scott Dolan]

Hey Cookie, I really love that trance like groove they get into during You Don't What Love Is.


That must have been a pretty magical evening.

[burning dog]

Just want to join in the general praise for the Deerhead Inn album. I play it the most of any Jarrett recording.

[Scott Dolan]

Just want to join in the general praise for the Deerhead Inn album. I play it the most of any Jarrett recording.

The only downside to it is that persistant hum. Don't know if there was a bad mic, or something wasn't grounded properly, or what.

But it doesn't detract from the awesome music!

[burning dog]

The only downside to it is that persistant hum. Don't know if there was a bad mic, or something wasn't grounded properly, or what.

But it doesn't detract from the awesome music!

Yeah! I'm listening to it now,"You and the night and the music." If you can stand the hum and Jarrett's vocalizing!

It's odd he stops for the odd eight bars, maybe he's holding his breath!

Bye bye blackbird now. Echos of the Miles version.

[Pete C]

I have not collected a lot of the group. One of the best things I like is the free non-standards album "Inside Out."



I think the followup, Always Let Me Go, is far superior--freer & more compelling. I feel a certain tension in Inside Out about letting go that was resolved the next time.

Great group. I've seen them live 3 times. My problem now, though, is so what? There's a sameness to the endless standards albums, I'm afraid, as good as they are. They seem to have abandoned the free experiment, which I found very fruitful.

[Ron Thorne]

I actualy sold "Whisper Not" for peanuts at a used cd store not to long ago. I wish I hadn't so I could have sent it for Dobie's CD Memorial.

Mary, as I was reading your post I thought the exact same thing (of course), then you stated it. I'm very appreciative of the music you have sent, though.

I'm also a huge fan of piano trios and this one in particular. I'll echo the recommendations Scott made. Then there's also Bye, Bye Blackbird: A Musical Tribute to Miles Davis, which I dig, along with the simply titled Standards, Vol. 1, etc. and Standards, Live.

Larry nailed it when he alluded to the empathy which can only come from playing together a very long time.

Damn, Cookie, being at The Deerhead Inn for that session had to be a heady experience, to say the least. That's also one of my favorite trio recordings of all time, along with Corea's Now He Sings, Now He Sobs, which is pure magic.

[Pete C]

I'd vote for the Blue Note box as the definitive representation of the standards trio playing standards.

[jazzy mary]

yeah, Ron and what is worse, about 4 months ago I gave my daughter's drum teacher a whole stack of jazz cds that I just wasn't into anymore. Of course this all happened before Dobie's sad demise.

[cookie]

I have to say that I like live Jarrett best. I think he still reaches, Pete, but I think he's subtle, sneaky and abstract about it. He still surprises me, especially with some of the unique harmonic devices he comes up with. Things I've enjoyed most are recordings and videos of the trio performing live.

Love "The Out of Towners." Listened to it twice already (bought about two months ago) and I mean LISTENED sitting in my rocking chair, not just putting it on while surfing the Net or doing the dishes. I'm about due to listen again. In fact, I just pulled it off the shelf. Bye!! :)

PS: Ron;Scott: it was an incredible night that included a Chevy van, two guitar players, a bass player, declined credit cards, tall-boy 16 oz. Cokes in glass returnables, and I think there may have been some other consumables involved. It was just a spur of the moment pilgrimage to see Jarrett. Was it a free show? I think so. I don't think we paid for the music. I think we just went and hung out. We sat out on the porch, but I had a great view of Jarrett and the keys through a screen door. We had no idea it was recorded.

Motian was hangin' on the porch drinkin' a beer between sets. Like a god among us...

[Scott Dolan]

There's a sameness to the endless standards albums, I'm afraid, as good as they are.


I think he still reaches, Pete, but I think he's subtle, sneaky and abstract about it.

As odd as it seems, I can almost fully agree with both of these opinions. There is a familiarity there. But for some reason, that's what makes it all the better. Don't really know how to explain it.

But I think that Whisper Not is a fine example of this. When I first got it, I was completely unimpressed. But I continued to listen to it over and over, and each listen revealed a little secret something that didn't strike me in the begining. nd after a couple of years, it has become one of my favorite albums from this trio. But, it's so incredibly subtle that it takes some very close listenings, IMO, to realize just how incredible it really is.

Cookie, I agree completely about The Out Of Towners. Excellent material!!! Excellent playing!!

I wonder if the mics picked up your applause that night at the Deerhead Inn? If so, sweetness!!!! I can now honestly say that I have a cd with Cookie on it!!

http://jazzcornertalk.com/speakeasy/images/icons/icon14.gif

[BlueMiles]

So there are definitely some fans of this group. I guess that's no surprise.

I do find that I need to listen to the music closely to really understand and appreciate it.

Most of the records are live sets, with a heaping of applause at the end. I don't know of another artist who has put more applause on his records.

The Miles tribute is one that I own and enjoy. I'm kind of intrigued by "Always Let Me Go."

Wouldn't it be a good idea for the trio to add a guest artist now and then? Add a guitarist or saxophonist or vibes player. They could try it once!

[cookie]

BlueMiles: I thought about that for a while. A guest artist might be interesting, but I really like the sound of this trio AS a trio. It may be what Pete is beginning to hear as "sameness," but I think the group has a unique identifiable "sound" that makes it a special unit. Adding a guest might be fun, but I think it would become an entirely different "band".

Still, for fun, who might make a good guest for "Jarrett Trio+1"? I think that a fourth player would really need to understand how the trio works. Otherwise, the trio would (IMO) run the risk of sounding like any other rhythm section accompanying a soloist.

Who would be a good candidate? Anybody wanna play? I have to think about it. Nobody is coming immediately to mind.

[lazy]

I love this trio. They're one of the great piano trios of our generation, IMO. The musical empathy amongst the musicians is special, the kind that can only be cultivated by many years of playing together. Jarrett's behavior is ridiculous, but the music is too good to miss. This group's live performances are sublime.

What do you mean by saying that his behavior is ridiculous?

[Scott Dolan]

BlueMiles: I thought about that for a while. A guest artist might be interesting, but I really like the sound of this trio AS a trio. It may be what Pete is beginning to hear as "sameness," but I think the group has a unique identifiable "sound" that makes it a special unit. Adding a guest might be fun, but I think it would become an entirely different "band".

Still, for fun, who might make a good guest for "Jarrett Trio+1"? I think that a fourth player would really need to understand how the trio works. Otherwise, the trio would (IMO) run the risk of sounding like any other rhythm section accompanying a soloist.

Who would be a good candidate? Anybody wanna play? I have to think about it. Nobody is coming immediately to mind.


I agree with you 100% about keeping the trio as a trio!! They are truly the closest thing I've heard to a perfect unit.


As for guest artists?

Branford.

[Jimmy Cantiello]

What do you mean by saying that his behavior is ridiculous?

I think Larry might be referring to Jarrett's habits of moaning and gyrating while he's playing. I could be wrong................

[sonic1]

http://www.nrc.nl/W2/Lab/Profiel/Bach/keith.JPG
guuuu uh uh uh ooooooweeeajah huh hu

[Scott Dolan]

"Unghhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh......................!"

[lazy]

http://www.nrc.nl/W2/Lab/Profiel/Bach/keith.JPG
guuuu uh uh uh ooooooweeeajah huh hu

L O L

:D :D :D

[Darryl G. Thomas]

I hate to say this (well maybe it's not so bad), but until the late '90s I thought Jarrett was black due to his complexion and the 'fro. Then I found out somewhere he was of Eatsren european (Hungarian?) stock.

What cracks me up is when he talks about his days with Miles and how much he disliked electric keyboards. You ever see videos of that band? Jarrett looks like ke's having a blast! Now Chick Corea looks like he's not having much fun. DeJohnette, Holland, and Airto are certainly rocking out.

[sonic1]

http://www.ne.jp/asahi/matsuwa/home/data/jazzcdpict/keith/keith_soloconcerts.gif
This one is my fav Keith Jarrett.

[Scott Dolan]

Then I found out somewhere he was of Eatsren european

Oh my!!!

[cookie]

Call me a weirdo, but I dig the moanin' and gyrating.

But ONLY from Jarrett.

[sonic1]

Call me a weirdo, but I dig the moanin' and gyrating.

But ONLY from Jarrett.

You are SOOOO setting youself up here.

[cookie]

Scott's suggestion of Branford is good. He's a versatile musician and to me, Branford has big ears. He really seems to listen to whatever band he's in and brings something not only personal but that fits the context.

That got me thinking:

What about Wayne Shorter? I hear alot in his harmonic approach that would dovetail and complement Jarrett's concept and I also think he can play in the sort of spacious approach to time that the trio adopts.

[cookie]

You are SOOOO setting youself up here.

I know, but I can't help it. It's like that for me. :)

[sonic1]

Scott's suggestion of Branford is good. He's a versatile musician and to me, Branford has big ears. He really seems to listen to whatever band he's in and brings something not only personal but that fits the context.

That got me thinking:

What about Wayne Shorter? I hear alot in his harmonic approach that would dovetail and complement Jarrett's concept and I also think he can play in the sort of spacious approach to time that the trio adopts.


I second Shorter!

[Jimmy Cantiello]

I've posted this probably five times over the years but it bears repeating. The Jarrett album that is closest to my heart is............

http://image.allmusic.com/00/amg/cov200/drc500/c560/c56030v4gn5.jpg

[Nate Dorward]

It's not just the gyrating & moaning; it's the "sensitive artist" routine (e.g. stopping in the middle of concerts because he's annoyed at coughing in the audience or wants a note tuned--one friend of mine was at a concert where in the middle of the set he simply struck the same note pointedly over & over until the tuner came running onstage). The preface of his to a book on buying pianos I have here is priceless--he claims that in his entire life he's only come across two pianos that were acceptable.

[Scott Dolan]

I second Shorter!


Me too. Excellent choice, Cookie!

[cookie]

What about Tom Harrell on flugelhorn?

[Enforcer]

What do you mean by saying that his behavior is ridiculous?

I was referring to the whole package, actually. The noises and movements are tough to take, but there's more. I once drove about an hour to meet some friends and catch a show with the trio in Ann Arbor. He canceled it a few hours before the show, which we found out when we got to the venue. There were a lot of people outside the place when we got there, so I don't know what kind of attendance he was expecting. He's also been known to chastise the audience for falling short of complete silence during quiet passages in the music. I'm not talking about loud conversations, I mean stuff like someone coughs and he sits there full of indignation for a long time without playing. I mean, come on.

[Surfer]

I saw Jarrett last year at SFJazz with the trio in question (all my comments are only go to concern the Peacock DeJohnette trio, since I believe that was the original issue at hand). I sent this email to my friend the next day.

As you probably know, he has Chronic Fatigue Syndrome and doesnt play much. We were in the balcony, still, good seats. The mix was unbalanced: too much DeJohnette. drums - particularly the rim shot, which seemed twice as loud as everything else, and the kick drum drowned out the entire bottom end of the bass. And the bass (Peacock) was too low. This seems like a typical problem with live jazz recordings, however, the soundboard was set/fixed and the engineer didnt touch it the whole show. DeJohnette is masterful; such a light touch on the cymbals and such a melodic sense of the trap set. When Peacock broke through the mix, he was a revelation. His interplay with Jarrett echoed the Evans-LaFaro team.

Which brings me to Keith. I had this same trio playing in the car as we drove to the show (Still Live '86 Munich). http://store.acousticsounds.com/images/as201JPG/AECM-1360.jpg Jarrett seemed much more nimble then, and the trio was very crisp. On this date he rarely (out of necessity, perhaps) left the two octave range in the middle of the piano. He didnt do too much solo improvisation. The ballads tended to drown in sentimentality. He did the obligatory "Rock-n-Roll" Americana Boogie-Woogie number, which seemed kinda formulaic. He encored with a boppish tune ("Billie's Bounce?????) and "Someday My Prince Will Come". Depending on your view of Jarrett's career, he is either moving towards or returning to his Bill Evans roots. I never really accepted that comparison until recently. A lot of this is probably a result of his disease, which makes it difficult for him to move quickly. He looked very slight. Not frail but slight. Many in the (older, well-dressed) audience would probably be surprised to know that he was once on the vanguard of jazz music. It's difficult to criticize him because he is without peer, the greatest pianist of his generation, imo, with no one really even close in terms of body of work, range of ideas, technical chops, etc. It was great to see him play and there were moments of absolute magic. But it was clear to me that day, that he was a mere shadow of his former creative and physical self. It was almost like saying goodbye to a dear friend. It was a happy goodbye, but it definitely seemed like the end of something.

[Sand]

I've posted this probably five times over the years but it bears repeating. The Jarrett album that is closest to my heart is............

http://image.allmusic.com/00/amg/cov200/drc500/c560/c56030v4gn5.jpg

Yeah, some trio - and what standardshttp://jazzcornertalk.com/speakeasy/images/smilies/wink.gif

[Jimmy Cantiello]

Sand, as you've noticed, I never let details bother me.......

[frankiepop]

i have a bunch of the trios as well...i see them and boom, i buy them, but even for those who dont like jarrets 'koln concert' solo recording, try this solo that jared recommends, i agree with jared, this is his best recording: try it ...

http://www.ne.jp/asahi/matsuwa/home/data/jazzcdpict/keith/keith_soloconcerts.gif

[Scott Dolan]

I know I've mentioned it several times before, but Jarrett's Vienna Concert still remians head and shoulders above the rest when it comes to his solo performances.


Although I do like almost all of them. Next in line would probably be La Scala.

[Surfer]

Sorry, Scott, I'll have to voice my disagreement. Vienna is too schizophrenic (sic) for me. The first 22 1/2 minutes are tedious, mind-numbing, monotonous Satie meets Bach on quaaludes, followed by an explosion of Cecil Taylor-esque proportions. This part is exciting for awhile, but lacks CT's color splashes. It just doesnt do it for me, and it sounds really planned and forced.

La Scala is too mannered, if my memory serves. Though I havent heard that for a long while, maybe I'll listen to it tonight.

I too prefer my Jarrett "neat" (solo), but its still Koln (he has never matched the sense of spontaneous COMPOSITION as on this one, it arcs just so beautifully, with that wonderfully elegiac coda, and beautiful opening note cluster, which is one of the most famous in all of jazz. This is the sound of a man musing aloud.), followed closely by Bremen (that has a short very "stride piano"-ish segment - its easy to isolate it on my LP version - , about 7 minutes long I think and played very briskly, that may be Jarrett's most beautifully joyous moment on record) and then Lausanne. Then after that would be Facing You, which I just listened to the other day - Song For a Future Earth and Semblence are quite beautiful. Followed by Vienna for the Taylor-esque part. La Scala next. And then Paris last. Those are the ones I own.

[BlueMiles]

A few questions....

If Jarrett is still having serious medical trouble, how has he been able to put out a good deal of music in the last few years?

How often does Jarrett actually halt the music if the audience fails to meet his needs? You'd think it would be hard to do live recordings, which is mostly what he puts out.

Anyone know when his humming-groaning-vocalizing began? I've just been checking out his work with Charles Lloyd as well an early trio record with Charlie Haden and Paul Motian. I don't hear a trace of it back in those days.

[Sand]

The very second i was about to open this thread, I very,very randomly discovered a documentary about Keith Jarrett on TV.. I tuned in as they talked about the solo "Facing You".

[Scott Dolan]

A few questions....

If Jarrett is still having serious medical trouble, how has he been able to put out a good deal of music in the last few years?

How often does Jarrett actually halt the music if the audience fails to meet his needs? You'd think it would be hard to do live recordings, which is mostly what he puts out.

Anyone know when his humming-groaning-vocalizing began? I've just been checking out his work with Charles Lloyd as well an early trio record with Charlie Haden and Paul Motian. I don't hear a trace of it back in those days.




His health is better now from what I understand.

And some of the recent releases were recorded before he took his extended break from touring.

[Scott Dolan]

Sorry, Scott, I'll have to voice my disagreement. Vienna is too schizophrenic (sic) for me. The first 22 1/2 minutes are tedious, mind-numbing, monotonous Satie meets Bach on quaaludes, followed by an explosion of Cecil Taylor-esque proportions. This part is exciting for awhile, but lacks CT's color splashes. It just doesnt do it for me, and it sounds really planned and forced.


Hmmm.....

I couldn't disagree more.

The first part is just brilliant to my ears. The slow, plaintive opening will sometimes give me goosebumps. It's almost as if he has lost someone dear to him and is expressing this immense sadness. Then as the piece builds his feelings are becoming more ambivilent because the realization of the moment and it's effects upon the rest of his life start to creep in. Then the Taylor-esque moment as you call it respresents the mind finally saying fuck it all and the collision of intense emotions creates one massive explosion.

I really like that piece. It's just amazing.

I also love Koln. It was my first solo album of his. That first track is still my alltime favorite piece from him.

La Scala may seem a bit mannered on the surface. but I like it for the depth of beauty and the perceved simplicity of what he's doing. His liner notes about that concert seem accurate enough. It's a very moving piece of music.

My wife has even requested I play that album. And she's not a Jazz fan.

[Enforcer]

How often does Jarrett actually halt the music if the audience fails to meet his needs? You'd think it would be hard to do live recordings, which is mostly what he puts out.

I don't want to dwell on this too much, because the focus really should be on Jarrett's incredible music. His illness has really compromised his ability to perform, and in interviews I read from a few years ago, he made it sound like he could barely turn the page in a book, let alone perform a solo concert. His attitude about the disease was alarmingly of the self-fulfilling prophecy sort. He sounded like he felt he deserved to have something happen to him like this because he was so obsessed with playing the perfect performance. He felt like he was failing whenever a show didn't turn out exactly right (by his standards). It was really sad, I thought. He's so brilliant that to be so self-critical seemed crazy.

Anyway, he thought the fact that he was such a perfectionist, trying to do too many things at once, actually had a causal impact on his illness. I have trouble believing that, unless the disease is psychological in nature (it's my understanding that nobody even knows exactly what CFS is, let alone what causes it). But Jarrett was a perfectionist to the extent that he would frequently berate an audience that he felt wasn't being sufficiently respectful of the performance. It could be people arriving late or someone coughing, just about anything. Not impossible to understand, but still silly. A sound in the audience is going to ruin the show but his wailing and writhing on the keyboard isn't?

Maybe someone could post a link to a recent Jarrett interview.

[Surfer]

Hmmm.....

I couldn't disagree more.

The first part is just brilliant to my ears. The slow, plaintive opening will sometimes give me goosebumps. It's almost as if he has lost someone dear to him and is expressing this immense sadness. Then as the piece builds his feelings are becoming more ambivilent because the realization of the moment and it's effects upon the rest of his life start to creep in. Then the Taylor-esque moment as you call it respresents the mind finally saying fuck it all and the collision of intense emotions creates one massive explosion.

I really like that piece. It's just amazing.



Well, there you have it BlueMiles. I would certainly encourage you to buy Vienna and decide for yourself. I will concede that I might be in the minority re: Vienna, as I have a couple of friends who like it as well. However, I like my Keith more flowing and less like a 35 minute non-sequitor. But I understand where Scott is coming from on this one. Koln, Bremen, and Facing You are excellent, though, I think we can all agree.

:)

[Scott Dolan]

Agreed!

[burning dog]

A few questions....

If Jarrett is still having serious medical trouble, how has he been able to put out a good deal of music in the last few years?

How often does Jarrett actually halt the music if the audience fails to meet his needs? You'd think it would be hard to do live recordings, which is mostly what he puts out.

Anyone know when his humming-groaning-vocalizing began? I've just been checking out his work with Charles Lloyd as well an early trio record with Charlie Haden and Paul Motian. I don't hear a trace of it back in those days.

He almost "sings" along with the electric piano at times on "Live Evil". *Tho on relistening only a few times*

I've noticed that when he doesn't vocalize during solos, his playing becomes more technique driven and less focussed. I'm talking about his more recent stuff. I don't know if anybody else agrees.

[Tim Livingston]

Tokyo '96

[Gary Sisco]

I love his Lausanne and Bremen solo recordings.

And I love his trio. "Just" three great musicians as tuned into each other as tuned gets.

I don't mind the moaning and so forth, but I can't deal with the motions.

"I can't stand the way she sings,
But I love to hear her talk."

[olie brice]

although they are clearly a great band, and I love some of what they do, I often wish listening to this trio that Gary Peacock and JdJ wouldn't take it so easy on Keith Jarrett. They are much more reserved in this trio than with anyone else, to the extent that thereare times that it sounds to me like KJ cuts Gary Peacock's solos off in the middle (eg on Chelsea Bridge on 'The Cure'). I would like to hear them take more space for themselves.

[Xavier]

I've got a couple of the trio recordings and they're pretty good. But I find myself thinking what would Paul Bley or Danko or Abrams or a bunch of other pianists do with Peacock & DeJohnette? I guess it's a steady very good gig and everyone's happy but the bass and drummer are a lot better than the pianist to my ears.

[craigz]

Pull that Tribute album back out and play All The Things You Are from the second disk. That solo cadenza at the beginning and the smooth entrance of the rhythm section never fails to floor me.

[nude ant]

Blue Note Boxset

Still Live

Changeless

Always Let Me Go

... my favorite trio discs.

[stonemonkts]

I've got a couple of the trio recordings and they're pretty good. But I find myself thinking what would Paul Bley or Danko or Abrams or a bunch of other pianists do with Peacock & DeJohnette? I guess it's a steady very good gig and everyone's happy but the bass and drummer are a lot better than the pianist to my ears.

You'll never hear Bley/Peacock/DeJohnette, but you can settle for Bley/Peacock/Motian (Not One, Not Two), or Bley/Peacock/Altschul (Japan Suite).

Bley with Peacock alone (sans drums) are my favorite sessions with those two.

My favorite Bley piano trio is Bley/Jay Anderson/Victor Lewis.

Am I violating the forum rules by mentioning non-ECM recordings? :eek:

[guy]

You'll never hear Bley/Peacock/DeJohnette, but you can settle for Bley/Peacock/Motian (Not One, Not Two),

Also Paul Bley with Gary Peacock and Turning Point (w/John Gilmore).

or Bley/Peacock/Altschul (Japan Suite).

Bley/Haden/Motian, (Memoirs)

[Simon Fay]

Another KJ anecdote: during a solo gig at Manchester Free Trade Hall circa 1981-82 the use by someone in the gallery of a camera with a motorwind to snap him during a quiet passage caused him to stop playing, get up, berate the photographer and demand his expulsion. "How do you try to recapture the concentration you've built up?" he asked the audience reportedly. "Roll a joint!" came the answer.

When news of his illness came through on a (very unpleasant) Miles list I was on back then, someone commented - "I'm not surprised with all his fucking resentments".

[Gerardo A]

Another KJ anecdote: during a solo gig at Manchester Free Trade Hall circa 1981-82 the use by someone in the gallery of a camera with a motorwind to snap him during a quiet passage caused him to stop playing, get up, berate the photographer and demand his expulsion. "How do you try to recapture the concentration you've built up?" he asked the audience reportedly. "Roll a joint!" came the answer.

Hahaha

[Gerardo A]

If the American Quartet was to play another concert again, sans Dewey unfortunately, who should be the tenor player?

I vote for Tony Malaby, someone who sounds great both in and out.

[dorshecraig]

Blue Note Boxset

Still Live

Changeless

Always Let Me Go

... my favorite trio discs.

We're on the same wave-length here! Although I'm not as sure on the last one -- I don't know it well enough; but, I remember liking it over Inside Out which I can't find at the moment. Perhaps I need to get more organized. But, I digress.

I'm reasonably sure that this is the longest running group in jazz history. I have most all the trio stuff (although it has been a while since I've listened to some of it); and, for me the thing that stands out the most is "I Fall In Love Too Easily / The Fire Within" on disc IV on the Blue Note Recordings. The standard is about 5 minutes long and segues beautifully to Jarrett's piece (is it possibly a group improv?). Jarrett set's up a drone and with Peacock's & DeJohnette's supple support throughout the various crescendos and diminuendos, the remaining 22 minutes just flies by. I've probably played this about 30 times or so this year primarily in my car distracting me from getting work done!

I've always been partial to Changeless; which, seems to make sense given my fondness for The Fire Within. And, Still Live has long been a favorite.

I've just finished reading the other thread regarding Jarrett's out of control behaviour. I'm sure it must be frustrating for him for his audiences to be less than perfect; but, he is ultimately responsible for his reactions, which were, in this case, reprehensible. It sounds as though a potential solution would be for someone -- other than Jarrett, himself -- to make a tactful announcement before the shows are to begin stating the artist's wishes. Oh, and an attitude adjustment...

[craigz]

Another KJ anecdote: during a solo gig at Manchester Free Trade Hall circa 1981-82 the use by someone in the gallery of a camera with a motorwind to snap him during a quiet passage caused him to stop playing, get up, berate the photographer and demand his expulsion. "How do you try to recapture the concentration you've built up?" he asked the audience reportedly. "Roll a joint!" came the answer.

Did Jarrett laugh? Has anyone ever seen him laugh? Has he ever laughed?

[lazarus]

Did Jarrett laugh? Has anyone ever seen him laugh? Has he ever laughed?


I have a wonderful video recorded from a german broadcast with Jarrett´s trio in early 70´s. Jarrett smiles all the time. It´s one of the most joyful jazzperformances I have ever seen. Paul Motian and Jarrett looks at each other and smiles all through the whole concert. They are having so much fun. The only one who not smiles is Charlie Haden who looks very sombre and concentrated.
The music is absolutely great. It´s my favorite jazzconcert-video.

[BrianL1]

If the American Quartet was to play another concert again, sans Dewey unfortunately, who should be the tenor player?

I vote for Tony Malaby, someone who sounds great both in and out.

I'm not sure the answer.

But does anyone think that Jarrett will ever play in a group format different than the Standards Trio?

At this point I'm inclined to say "no".

[rene]

I'm not sure the answer.

But does anyone think that Jarrett will ever play in a group format different than the Standards Trio?

At this point I'm inclined to say "no".


I agree.

And were there other musicians outside his regular Standards Trio and American Group whom he played with in the past 25 years? :confused:

[BrianL1]

I agree.

And were there other musicians outside his regular Standards Trio and American Group whom he played with in the past 25 years? :confused:

At least on disc, there was Motian in place of DeJohnette on "Deer's Head". Plus a few classical colloborations. Anythng else?

The 70's had a few more diverse appearances.

[BrianL1]

I agree.

And were there other musicians outside his regular Standards Trio and American Group whom he played with in the past 25 years? :confused:

At least on disc, there was Motian in place of DeJohnette on "Deer's Head" (but that's an American Group connection). Plus a few classical colloborations. Anythng else?

The 70's had a few more diverse appearances.

[Ron Thorne]

If the American Quartet was to play another concert again, sans Dewey unfortunately, who should be the tenor player?

I vote for Tony Malaby, someone who sounds great both in and out.

The late Jim Pepper, of course. :cool:

[Ron Thorne]

Coming our way on January 15, 2008 is a box set which should sell like hot cakes . . . Setting Standards - Keith Jarrett/Gary Peacock/Jack DeJohnette.

http://ecx.images-amazon.com/images/I/41tRM2px-xL._AA240_.jpg

This specially-priced 3-CD set includes Standards Vol. 1, Standards Vol. 2 and Changes in one package, celebrating 25 years of output from this remarkable trio.

You may pre-order this album now at several locations.

[Ron Thorne]

Looks as if we'll have to wait another week for the release of this one.

http://ecx.images-amazon.com/images/I/41tRM2px-xL._AA240_.jpg

At this time, Amazon seems to have it overpriced by a couple of dollars over the MSRP, according to CDUniverse, anyway.

[BrianL1]

Looks as if we'll have to wait another week for the release of this one.

http://ecx.images-amazon.com/images/I/41tRM2px-xL._AA240_.jpg

At this time, Amazon seems to have it overpriced by a couple of dollars over the MSRP, according to CDUniverse, anyway.

I'm sorta disappointed this didn't actually get the "remaster" treatment as originally laid out. I have Vol 2 on CD already, and the other two on LP, and a remaster would have given me a good excuse to upgrade.

Nice deal for newcomers though.

(I find Vol 2 is superb, quite better than Vol 1).

[Simon Fay]

Did Jarrett laugh? Has anyone ever seen him laugh? Has he ever laughed?

My contact at that gig said "Even jarrett laughed at that" (ie the 'joint' quip). But I take your point: he doesn't come across as someone who is a barrel of laughs. Rather as agonisedly self-important.

[craigz]

I saw a documentary recently, called "The Art of Improvisation," that consists largely of inerviews with Jarrett and many of his associates and collaborators. It's a very good film, providing a great deal of insight into how the man works.

I've been listening to Keith's music for more than thirty years, but I don't know very much about him. Not that I care, really. It doesn't bother me when a great artist is also a miserable person. (I sure wouldn't trust Charlie Parker with my television overnight.)

Judging from these interviews, though, I think that the nastiness he sometimes exhibits at performances is more a product of his musical process than anything else. In the interviews, he doesn't come across as a barrel of monkeys, for sure, but he does laugh, and seems to accept his own neuroses and idiosyncrasies with a smile.

As with many arists, creativity is what seems to keep Jarrett from drowning in despair. When asked if he has sacrificed anything in order to do what he does, he answered "My health." During his illness in the late 90s, he honestly thought that he would never play again, and regaining his strength has been miraculous to him. He doesn't write anymore, he said, because he's happy just to be able to play.

The overall impression is that Keith Jarrett is not, as some might imagine, a rich and successful musician who is able to travel the world, walk out on concert hall stages, and play great concerts with no preparation. He's paid an awful lot to be able to do what he does, and I respect him all the more for being able to do it.

[shrugs]

the Blue Note Box is all you need.