KJ: We never really know that ahead of time but I guess we assume that the core of what will happen, are probably some standards of some kind or another, but we don’t ever plan the music, so I guess the answer’s I don’t know, but I guess we will play standards at least part of the time.ĬBL: OK. KJ: What kind of music will I be playing?ĬBL: Will it be improvisational or will it be standards? The interview lasted around an hour and Jarret spoke fast, so the audioscript is long, so long in fact that I haven't yet got around to transcribing the final 15 minutes or so.ĬBL: It’s going to be a trio. I phoned him at his home in rural New Jersey. 1 is a fine addition to any Keith Jarrett collection.I interviewed Keith Jarrett on the 2nd of February, 2007 about a forthcoming trip to Japan. Jarrett and the trio distill the rhythmic spirituality of the piece, and there are jazzy chord changes in the chorus. DeJohnette matches Jarrett’s intensity with unflinching commitment. His muscular chording keeps the repeat vibrant and soulful. For some musicians, a 15:33 track might become tedious, but not Keith Jarrett. Unleashing a plethora of gospel-infused riffs and hooks, there is a certain hypnotic groove to the arrangement. Forever associated with Billie Holiday (and resurrected in the 60’s by Blood Sweat & Tears), Jarrett reclaims this in his inimitable style. “God Bless The Child’ is clearly one of these moments. There are usually compelling, if not stunning elements to Keith Jarrett’s recordings. Also, the final 0:45 injects a touch of ethereal charm. It has a “live” feel that reflects the chemistry of the trio. Never removed from musical eclecticism, the 1939 song, The Masquerade Is Over” adopts the finger-snapping “cool” template that runs through this album. The conclusion of the piece features haunting delicacy on the piano. DeJohnette’s timing and instrumental technique are flawless and Jarrett embraces a breezy vibe. This cover is lyrical with a deft 3/4 time signature. There are too many covers of the 1940 show tune “It Never Entered my Mind” (Rodgers and Hart) to enumerate. Peacock solos with Jarrett countering, and the last chorus and verse slow down to a hush. The essence of the melody is familiar, but the trio energizes it with hard bop flourishes. The piano runs are percolating and hard driving. The arrangement is stridently up tempo with Jarrett, Peacock and DeJohnette swinging. There have also been many popular covers from singers like Ella Fitzgerald, Frank Sinatra and Barbra Streisand. the show tune has been transformed by the likes of Ella Fitzgerald, Sonny Rollins, Dizzy Gillespie, Charlie Parker, Chet Baker, Dave Brubeck, Stan Getz and Gerry Mulligan. Written for Broadway (and screen) by Jerome Kern and Oscar Hammerstein II. Jarrett is especially on his game for “All The Things You Are”. DeJohnette is a judicious counterpoint to Jarrett, and the jam comes to a quiet finish. (Note There is some ambient vocalese in the background). Next, Jarrett explores Latin-infused motifs with a repeat vamp-driven solo. At just past the 4:00 mark, Peacock excels on a deft solo. Jarrett’s right hand notation is adroit in its tempo sustainment and breezy accents. There is a gliding rhythm that that creates a dream-like resonance. Jarrett begins his cover with a slightly lilting piano lead as Peacock and DeJohnette gently expand the music. Later jazz players like Miles Davis, Stan Kenton, Gil Evans and Woody Herman established its jazz legacy. Her trademark sultry vocals established a substantial melancholy to the context. The opening track, “Meaning Of The Blues” was written by trumpeter Bobby Troup (‘Route 66”) for his wife, singer Julie London. Like many extended Jarrett arrangements, there are five numbers that run for a total time of 45 minutes. The reviews for both were mixed, but the trio’s live performances were exciting.Īs part of the 2019 ECM Touchstone series, iconic jazz label ECM has reissued Keith Jarrett – Standards Vol. 1 was released in 1983, it climbed to #14 on the jazz charts. Following convention was never a crucial element to Jarret’s musical vision. While the practice of recording jazz standards was customary for decades, it was contrary to Contemporary Jazz of the 1980’s. The trio had previously recorded together in 1977 on Peacock’s Tales Of Another. At the suggestion of Manfred Eicher, Jarrett recorded an album of standards (actually 2 albums) with double bassist Gary Peacock and drummer Jack DeJohnette. Throughout his illustrious career, he has breathed new life into familiar and lesser known material. While Keith Jarrett is known for his original compositions and improvisational largesse, he is equally adept at standards. (Keith Jarrett – piano Gary Peacock – double bass Jack DeJohnette – drums)
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