R.I.P. Charlie. Keith Jarrett and Charlie Haden broaden the scope of their duo project to showcase jazz classics like Thelonious Monk’s “’Round Midnight” and Bud Powell’s spritely “Dance Of The Infidels”. Love songs, however, are to the fore in this selection, with tender versions of “My Old Flame”, “My Ship”, “It Might As Well Be Spring”, “Everything Happens To Me”, and “Every Time We Say Goodbye” as well as versions of “Where Can I Go Without You” and “Goodbye” which are every bit as touching as the Jasmine renditions.
The legendary Keith Jarrett Trio, playing live at NDR Funkhaus, Hamburg. The trio with Haden and Motian – formed in 1966 – was Jarrett’s first great band, his choice of players a masterstroke. With the bassist who had learned his craft in Ornette Coleman’s band, and the drummer from Bill Evans’s ground-breaking trio, Jarrett was able to explore the full scope of modern jazz, from poetic balladry to hard-swinging time-playing to ferocious and fiery free music, the improvisation including episodes with Keith on soprano sax.
It's an intimate, home-studio recording of love songs – deep, almost painfully heartfelt – and so good it will be sure to top most best-of lists. There's no tricksiness, just the woody thump of Haden's bass adding authority to Jarrett's tender, faithful chording. "For All We Know" is a Desert Island Discs cert; "Body & Soul" is done almost jauntily; the closing "Don't Ever Leave Me" a bitter sweet miracle. If you buy only one album this year, etc. ~Phil Johnson in The Independent, 2 May 2010
The legendary Keith Jarrett Trio, playing live at NDR Funkhaus, Hamburg. The trio with Haden and Motian – formed in 1966 – was Jarrett’s first great band, his choice of players a masterstroke. With the bassist who had learned his craft in Ornette Coleman’s band, and the drummer from Bill Evans’s ground-breaking trio, Jarrett was able to explore the full scope of modern jazz, from poetic balladry to hard-swinging time-playing to ferocious and fiery free music, the improvisation including episodes with Keith on soprano sax. The interaction between the three musicians is uncanny throughout, reaching a peak in an emotion-drenched performance of Charlie Haden’s “Song for Che”. ECM set up the 1972 tour of the Jarrett Trio, including the German radio concert from which this album is drawn. Manfred Eicher returned to the original tapes, remixing the music for this edition in Oslo in July 2014, together with Jan Erik Kongshaug.
The reason to mention the "particulars" of this document of informal sessions is because Keith Jarrett went to the trouble of doing so in his liner notes: they came about in the aftermath of him and Charlie Haden playing together during a documentary film about Haden. The duo, who hadn't played together in over 30 years, got along famously and decided to do some further recording in Jarrett's home studio without an end result in mind. The tapes sat – though were discussed often – for three years before a decision was made to release them. Jarrett used his home Steinway instead of his usual concert Boisendorfer.
Reissue. Comes with new liner notes. This was the first real indication to the world that Keith Jarrett was an ambitious, multi-talented threat to be reckoned with, an explosion of polystylistic music that sprawled over two LPs (now squeezed onto a single CD). Using his classic quartet (Dewey Redman, Charlie Haden, Paul Motian) as a base, Jarrett occasionally adds the biting rock-edged electric guitar of Sam Brown and always-intriguing percussionist Airto Moreira, and indulges in some pleasant string and brass arrangements of his own, along with some grinding organ smears and acceptable soprano sax.
This odd anthology from Atlantic reissues selections from trio dates recorded during the 1960s by Keith Jarrett, Chick Corea, and Herbie Hancock, along with otherwise unobtainable early recordings by McCoy Tyner. Jarrett is joined by Charlie Haden and Paul Motian on two originals, both of which show the obvious influence of Bill Evans. Chick Corea is accompanied by Steve Swallow (on acoustic bass rather than the electric bass he switched to a short time later) and Joe Chambers. The pianist's "Tones for Joan's Bones" is swinging, but not nearly as driving as his works in the decades to follow, while his reworking of the show tune "This Is New" features Joe Farrell and Woody Shaw; both tracks also show the influence of Bill Evans.