CD Review: Keith Jarrett/Charlie Haden/Paul Motian – Hamburg '72

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.