Keith
Jarrett (piano, soprano saxophone, flute, percussion); Charlie Haden
(double bass); Paul Motian (drums, percussion).
(Review
by Hugh)
The
Trio with Charlie Haden and Paul Motian was Keith Jarrett's first
great band. This recording is of the trio playing live at NDR
Funkhaus, Hamburg in July 1972. This concert was part of the first
European tour for this trio, organised by ECM. Manfred Eicher
returned to the original analogue sources 42 years later, remixing
the music first recorded by NDR, together with engineer, Jan Eric
Kongshaug. It is somewhat poignant that this work took place the day
after Charlie Haden's death.
The
CD has six tracks, coming in at just over 55 minutes in total. The
first track, Rainbow, is composed by Margot Jarrett. It
commences with Jarrett's solo piano. I thought I detected a cough
(usually forbidden in Jarrett concerts!) from the audience early on
in the recording, until I realised the sudden sharp release of breath
was probably the man himself. He is joined later by Haden and Motian
in a supportive role but subtly integral to the whole music – this
is the trio at it's best.
The
next four tracks are Keith Jarrett's own compositions. Everything
that Lives Laments commences as a lively duo between Charlie
Haden on bass and Paul Motian on percussive instruments that bear a
striking resemblance to Swiss cow bells. This is overlain with the
flute of Keith Jarrett, alternately blown conventionally and then
vocalised through. This is a strange kind of jazz, and to some
perhaps not even music. Approximately two-thirds of the way into the
piece the Alpine scene develops broader vistas as the Jarrett's
sweeping pianism takes over. We now enter the land of slow chord
progressions with a gentle undercurrent provided by Haden's bass and
Motian's drums.
Piece
for Ornette initially features Jarrett on skilful soprano sax
with vigorous rhythmic support from the bass and drums of his
colleagues. This interplay continues for a full seven and one half
minutes (the sweat is almost tangible!) before slowing to allow
Haden's bass to come to the fore, with background support from Motian
on drums. The piano does not feature in this track – but appears
as the third track segues seamlessly into the fourth. Take me Back
returns us to the more conventional trio format (with Jarrett on
piano and grunts). Life Dance appears almost unannounced,
again featuring the regular trio line-up. All three are on top form
throughout.
By
far the longest track on the CD, at just over 15 minutes is Haden's
Song for Che and is Jarrett's only recording of this piece.
Naturally the bass features prominently from the beginning, with
improvisational interplay of piano, drums and various percussive
instruments. Jarrett again takes to soprano sax, with a haunting
melancholic quality at times offset by a more earthy, primaeval sound
accompanying the rhythmic, almost African style drumming of Motian.
According to the publicity, Song for Che has become a new jazz
classic – I'm sure it may well have, but not in this version, I
think!
When
this CD arrived on my desk, I was greatly looking forward to hearing
it – it was actually on my Christmas list anyway. Having listened
to it a few times it has grown on me. There are moments of pure
beauty - Rainbow in particular – interspersed with a strange
improvisatory melange, which can probably only be really appreciated
in the live setting. Where the applause is left in the edit, the
audience of '72 certainly seem to be enjoying it.
Hugh.
Hamburg
'72 has been released on the ECM Label, Catalogue Number 470 4256.
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