Album Description
The 25th Anniversary
Jazzs greatest piano trio. This is the best way to describe the 25-year partnership between Keith Jarrett, Gary Peacock and Jack DeJohnette. They are an institution of jazz and My Foolish Heart is their 18th recording, all on ECM. The double album was recorded live at the Montreux Jazz Festival in 2001 and is an exhilarating and playful performance which romps through the history of jazz as the trio plays pieces by Fats Waller, Thelonious Monk, Miles Davis, Sonny Rollins, Gerry Mulligan and more, as well as a scattering of show tunes and standards from the Great American Songbook. This album is - in terms of the musical range addressed - one of the most comprehensive in the discography of Jarrett, Peacock and DeJohnette. This fall, ECM is also releasing a speciallypriced 3-CD box set of the first recording session that the Keith Jarrett, Gary Peacock and Jack DeJohnette ever made together. Setting Standards is a combined reissue of Standards Vol. I, Standards Vol. II and Changes, the three albums recorded in one session at New Yorks Power Station in 1983. The albums have been remastered in 24bit/192kHz and the box set will include new liner notes and archival photos.
Rate Points :4.0
Binding :Audio CD
Label :Ecm Records
Manufacturer :Ecm Records
MPN :000988702
ProductGroup :Music
Studio :Ecm Records
Publisher :Ecm Records
UPC :602517373266
EAN :0602517373266
Price :$29.98USD
Lowest Price :$16.91USD
Customer ReviewsKJ meets jazz roots, classic jazz trio music results
Rating Point :4 Helpful Point :1
This stuff must really come easy for Keith. The pianist known for his improvisations and thematic interludes of solo piano virtuosity in the jazz mode hooks up again with two of the most solid jazz musicians in the business today, and some wonderful takes on classic jazz tunes are digitized for the enjoyment of present and future jazz enthusiasts for years to come. Jarrett fans probably cant live without this recording, as it features some really wonderful playing and the usual complex and exciting solo work that Jarrett has become known for over the years. But having to work within the rhythm box created by DeJohnette and Peacock, KJ is kept more focused than when he plays by himself, and personally, I find the result much more satisfying. Im also a sucker for standards and show tunes, so I really appreciate their cleverly stylistic renditions of songs like Aint Misbehavin, You Took Advantage of Me, and Honeysuckle Rose. I can only give this four stars because, as good as Jarrett is, he will always be Keith Jarrett, which means, he will always be making those irritating "chicken-being-stepped-on" noises during his performance. When hes close to the rhythm and melody, it isnt so bad, but sometimes he just screeches, and I find that annoying. That is, however, a minor quibble. I find it hard to believe this didnt even merit a listing in The Penguin Guide to Jazz Recordings: Eighth Edition (Penguin Guide to Jazz Recordings), as I think it is at least as good as the CD in their core collection, The Kln Concert. I would say anybody who is thinking about buying this CD shouldnt hesitate any more. I think the familiar tunes also make this a good choice for non-jazz enthusiasts looking to broaden their music collection.
Rating Point :5 Helpful Point :0
Definitely a must-have for any Keith Jarrett, jazz, and/or jazz piano fans out there. Jarrett, Gary & Jack are swingin their aes off as usual... Cant say Im the biggest fan of the stride-piano/ragtime reconstructions of a couple of tunes on here... but that is only IMHO )
Pure Jarrett in every way
Rating Point :5 Helpful Point :1
The music is unsurprisingly glorious, as most of what this trio has played over the past 25 or so years.
For Jarrett critics, probably the best quote in the history of Jarretts self-indulgence, from the liner notes "I want to thank Gary and Jack for sharing the struggle for artistic survival in a world of fakery, thoughtlessness, mimicry, diffidence, apathy, unconsciousness, laziness, empty virtuosity, ignorance and self-deceit." Amen.
Look ma--both hands!
Rating Point :4 Helpful Point :0
Much of the fuss about this album seems to concern Jarretts revisiting of stride style on three numbers. Jarrett has never had a reputation as an underachiever, and no doubt he wishes to prove a point--not about stride piano (which as played by James P. Johnson, Fats Waller, Earl Hines, Art Tatum and Oscar Peterson is the most technically challenging idiom for jazz piano improvisation), but about his own eligibility to be considered on the same level as a select group of players. In the hands of the masters, the style requires two hands that can think independently, a left hand no less inventive and dexterous than the right, a left-handed finger stretch that can play and "walk" tenths at a brisk pace, an inerrant sense of placement while leaping two or more octaves for every other beat on tunes frequently played "allegro" rather than moderato, and the control to make it all cohere as an effortless, seamless whole.
If Jarrett has raised listeners awareness and appreciation of well-played stride style, he deserves all the credit in the world. If he has impressed listeners with his versatility while simultaneously provoking dissatisfaction with a "dated," "ragtime" style, his accomplishment is less clear. Even though to my ears the pianist doesnt earn many style points for his stride piano playing, to the extent that hes willing to risk this treacherous idiom at all he deserves respect and plaudits. At the very least, he lays to rest the criticisms from some of his peers that he has a weak left hand.
A note on "ragtime": Since the word has been invoked by several reviewers, it should be noted that "ragtime" was primarily a composed "genre" (not style) of music that pre-dated both jazz and American popular song (1890-1905). No doubt Jarrett could handle the compositions of Scott Joplin et. al. if he chose to, but thats not what youre hearing on this recording. As for those who express displeasure about the pianists continued attraction to the Sinatra repertory (i.e. the Great American Songbook), its good to be reminded that Jarrett went there when, after the Koln Concert, he was being hailed as the father of "New Age" music and the school of George Winston, Yanni, Brickman, Tesh, etc. Just as he felt it was important then to make a point about structural integrity and the tradition, its likely that some of the same motivation is behind his recent exploratory ventures into stride piano territory. One wonders, however, if hes aware that even Winston frequently includes in his concerts some Waller pieces played in stride style, in which case Keith might be influenced to venture down other musical paths. Whats next? (Certainly hes heard Erroll Garners head-spinning "Concert by the Sea.")
IMPRESSIVE AND VIVID AS ALWAYS
Rating Point :5 Helpful Point :0
Every live recording from this trio is a celebration and a must have .Not so strong like STILL LIVE but also an excellent and skillful live performance which deserves respect and serious listening attention .FIVE STARS FOR SURE .
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