Review: Keith Jarrett - The Out Of Towners

By this point, together for almost twenty years, the trio of Keith Jarrett, Gary Peacock and Jack DeJohnette are easily the longest association and most constant group in jazz. All three masters of their individual craft, since first getting together their collective skill and interaction has resulted in an empathy and that almost no-one else can touch.

Preferring to avoid the more avant regions with which the members have individually sometimes gone to, either solo or with other groups, this Standards Trio have chosen instead to focus for the most part on original and sometimes surprising takes on classic jazz tunes. So, recorded at the Munich State Opera, ‘The Out Of Towners’ like all of the trios releases, comes with great anticipation. But, as some naysayers may enquire, what differentiates this from the many others in the trios’ catalogue?

To start, the sound recording here is absolutely pristine. I strongly doubt you’ll ever find a better live recording of a piano trio than you will here - the clarity of the sound is superb. But also just as importantly the song choices are more than just the usual standards.

Opening with a brief solo introduction, Jarrett makes ‘I Can’t Believe That You’re In Love With Me’ a lovely and complex rendition. And the way the rhythm duo enters behind him is so smooth it should be used as textbook for any aspiring group out there. Later ‘You’ve Changed’ is a gorgeous ballad and is a perfect example of how this group takes a song you think you know and is able to just open it up – presenting it in a new way that somehow enhances the melody of the piece.

Gerry Mulligans ‘Five Brothers’ swings as it was meant to do and Cole Porters ‘I Love You’ is near-perfection, only just a tad marred by a frankly odd and unengaging cymbals-only solo. The best trio piece here though is the Jarrett original title track; a lengthy and funky blues-gospel, it benefits greatly from some inspired soloing by Peacock. For those that - understandably - bemoan Jarretts lack of composition more recently, here is a shining example of his compositional talents, but one that is undeniably improved by the intuition of the band.

As an encore we are given a tranquil yet moving ‘It’s All In the Game’, in which Jarrett performs solo – his first in this context for two years, and live for six years, since 1995s ‘La Scala’. Perfectly as in the moment as his famous solo recordings, he shows great restraint and stays true to the melodically-rich piece. Achingly beautiful, it is unreservedly a highlight of Jarretts career.

A good starter for anyone unfamiliar to the trio, it’s also be a great additional volume for fans of the trio and their other recordings, showing as it does an incredible raising of the art of interpretation to what is arguably an even higher level. The way they play these tunes is so fresh that each of them can sound like an entirely new piece each and every time they sit down to play it. The sheer breadth of material and playing here gives the impression of something very complete, and Jarretts final stirring playing is so heartfelt, you’d have to possess the stoniest of hearts not to be entirely transfixed. ‘The Out Of Towners’ is stellar Standards Trio, but more than that, it is stellar piano trio, and simply brilliant music.

*****

Gig Review: Hiromi The Trio Project Live At Cadogan Hall 13.04.2014

Having loved all of Hiromi’s albums to date, I have for years been trying desperately to attend one of her concerts – in any format; be it solo, in a trio, with her electric Sonicbloom group, duetting…

Alas, I’ve been thwarted for about five years, with various issues and other events getting in the way. This year seemed to be no different either, with my wedding and honeymoon seemingly topping three nights of Hiromi live in London in the importance stakes. Luckily I’ve married the right woman, who was more than happy to attend a gig of some of the most exuberant piano jazz artists of the moment during our honeymoon.

I’ve attended Cadogan Hall in Sloane Square too (very upmarket – go for a drink elsewhere first rather than locally) before, and approved of the venue; about a thousand people capacity, very good sound, excellent views for anyone in the audience, and very easy to get to (one minute walk from the tube), it’s a fantastic live music choice.

No support, and with the trio walking straight on to the stage, to thunderous applause, the trio of Hiromi Uehara, Anthony Jackson, and Simon Philips dived right in to playing some incredible dexterous and complex music, that managed to be both exhilarating and playful.

Playing largely a mix of music of her ‘Voice’ and ‘Move’ albums, which both Jackson and Philips have played with the pianist on, the group also played a few tunes from the upcoming ‘Alive’. Another welcome variance though was that it wasn’t just always the trio playing – after a short interval following the first half of the show, just Hiromi herself returned for the first number of the second half, and it was a winner from start to finish. Playing a typically dazzling array of notes, Hiromi did so in a way that created a kind of slow yet up-tempo glittering waterfall of piano that rose and fell, and went all kind of directions. Keith Jarrett may be the reigning king of the solo piano, but on the evidence tonight, the just 34 years old Hiromi could very much give him a run for his money.

Hiromi is without doubt an incredible pianist, but aside from her technical prowess, it is also her winningly fun personality that comes through that really makes her music. And tonight, this was in abundance – musically and visually. And you certainly won’t see any player having more fun on stage. Throughout Hiromi leapt about the piano and displayed a wild abandon in showing a full range of facial expressions (though to fair, mostly a big smile).

An even better bonus however is the band. Anthony Jackson and Simon Philips have already astounded on record, but live they excel. Jackson plays a relatively rare contra-bass guitar, that possesses a truly great range and sound, and in Jacksons hands, is something truly awe-inspiring, while Philips’ drumming (and drum kit) was just huge; able to play subtle and quiet one minute, and loud and driving the next, he has a great show stopping range and easily matched his two band mates in virtuosity and skill. Together though they made a killer unit, playing together and interweaving with wonderful finesse.

Overall the whole night was a great show, and huge fun. Somehow Hiromi managed to play jazz, and not yet jazz, taking in classical, rock, a little salsa, blues…anything went, and it went well. The audience all looked like they were having a fantastic time, applause was loud and plentiful, and the entire band looked invigorated and happy throughout.

The gig was over all too soon, and the encore was a wonderful thank you, but in all honesty everyone almost certainly wanted a whole lot more. I’d always expected to love Hiromi as a live performer, and on this night I was not only not let down, but was even further bowled over – not just by her playing, but by her groups, their interplay, and just by the sheer musicality on display. I really must catch her and her ‘Trio Project’ again.

Review: Eliane Elias - Paulistana

After proving herself a talented and unique piano voice, albeit with a sometimes frustratingly erratic output, Eliane Elias hit gold with ‘Fantasia’, a beautiful album that was received with strong critical notices and sold handsomely. And thankfully for her follow-up, ‘Paulistana’, she wisely continued in the same vein and continues on a decidedly handsome winning streak.

As before a nicely rounded mix of Brazillian composers hits from the likes of Barroso, Jobim and Bonfa are here alongside Elias’ own strong efforts peppering the mix. The opening salvo of the anthemic ‘Brazil’, Carlos Lyra’s classic ‘Influencia Do Jazz’ and Elias’ own ‘Paulistana’ alone is a huge treat, with each possessing a distinct and memorable melody.

Her favoured piano trio is the format of choice here, with Elias keen to hint at Bill Evans, as well as showcasing her own sound, with many tracks benefitting from some soulful and rhythmic percussion. On the downside, a handful of tracks also unweildily gain some of Elias’ vocals. Not to say that her voice is bad though - in fact its limited range is heightened by the warm and sensuous tone she brings to the lyrics – but its occasional lead means that her own piano playing, her greatest asset, is at times greatly reduced.

A warm and enjoyable listening experience, the recasting of these classics in a jazz format is a winning success, and Elias’ own pieces here, including the title track, are also much stronger than before, blending nicely with the well-chosen covers. And even despite the small flaws, ‘Paulistana’ is a great uplifting jazz record that sits nicely in Eliane Elias’ discography.

****

Review: Tord Gustavsen Trio - Being There

Album number three on ECM for pianist Tord Gustavsen’s trio, and it’s his best yet. Still composing and playing in a sparse and stripped down manner, Gustavsen continues to favour quietly intense and introspectively cool in place of any ego-lead shows of virtuosity, or indeed anything above a mid-paced tempo, that in a way Gustavsen is perhaps the perfect artist and foil for label owner and producer Manfred Eicher, and his singular vision.

Here ‘Karmosin’ showcases a masterclass in rhythm and melody, all the while maintaining that uniquely strong Scandinavian atmosphere, where at the other end of the spectrum ‘Blessed Feet’ shows the trios own distinctive take on blues, and ‘Around You’ is just pure beauty. And yet, everything here maintains a fine and cohesive whole, such is the clarity of intent of the trio – less a piano payer backed by a rhythm section, and more three players all leading and exchanging ideas between each other.

Better still, of the many piano trios out there, Gustavsen’s is probably, alongside E.S.T., the most song focused, with ‘Being There’ being the best example of this. Thirteen tracks, with most falling under the five minute mark, each is a concise and full piece that lets its charms and strengths play out unrushed, yet without ever meandering or dragging.

For the fans of his earlier work, here Gustavsen rewards their loyalty with an even stronger effort, whilst newcomers should be well-served by this winning albums crystal-like sound and its langorous yet intense musical landscapes. Consistently beautiful, Tord Gustavsen has here created a new piano trio record that can sit proudly alongside the established classics of the genre.

*****

Review: Brad Mehldau - Trio Live

Brad Mehldau made his name with his famed trio, largely with the excellent five-part ‘Art Of The Trio’ series, but since Jorge Rossy’s departure for other newer projects, Mehldau tended to experiment in other more diverse projects, taking in among other things solo work, a quartet with Pat Metheny and even a duo album with operatic soprano queen Renee Fleming, before eventually returning to perhaps his most ‘expected’ group format.

The somewhat basic named ‘Trio Live’ features newer stick man Jeff Ballard, now firmly and comfortably in the drummers seat having long since replaced Rossy, alongside longtime bassist Larry Grenadier, again playing and recording at New York’s historic Village Vanguard (numerous artists have recorded a famous and great album here, for Mehldau though, this is rather greedily his fourth). Again made up of two discs this, instead of presented a whole concert, cherry picks from the best of a six night residency during October of 2006.

Disc one is the more covers heavy half, and takes in a wide variety of sources, ranging from the move obvious classics such as Chico Buarque’s ‘O Que Sera’ and Ray Noble’s ‘The Very Thought Of You’, to the more contemporary; most notably Oasis’s ‘Wonderwall’, and Soundgarden’s ‘Black Hole Sun’.

‘Wonderwall’ itself is one of the most surprising pieces here, not in the choice of song selection, but in the way the trio decides to attack it. Taking the acoustic rock pub-singalong favourite, the three players here reimagine it as a soulful funky number, more in an acoustic jazz style take on some perhaps Lou Donaldson or Cannonball Adderley. Of course the melody is still there, and Mehldau draws every last possible opportunity he can out of it, all the while keeping it grooving along tightly.

Soundgardens classic anthem ‘Black Hole Sun’ too gets an intriguing and fun makeover here, and is in a way the centerpiece of the album. Epic and twisting, with a multipart structure, regardless of your familiarity with the original, it will leave you impressed, and maybe even just a little dazzled. Retaining the songs distinctive melody, here the trio in fact split it into a number of varied melodic ideas, which not only showcase the inventiveness of the trio as a unit, but also makes the piece much shorter than it’s near 25-minute running time.

Mehldau’s own ‘Ruby’s Rub’ by comparison is classic swing, while ‘O Que Sera’ takes in the obvious samba and twists and turns it into a half dozen other things. The always popular ballad ‘The Very Thought Of You’ then ends the first disc in an almost Mehldau-by-numbers way - gentle rhythms, lithe and subtle lead piano lines – yet still it remains a great piece of music, and a very good closer.

Disc two focuses more on Mehldau the composer than the first disc, kicking off with the densely rhythmic ‘Buddha Realm’ that also packs one of his more intense melodies and some of Ballard’s more pulsating, driving work. If ever an example was needed of a contemporary piano trio as a highly interactive group, and not just a soloist playing over a strolling backing, then this is it.

‘Fit Cat’, Secret Beach’ and Jimmy Heath’s ‘C.T.A.’ all keep the creative juices flowing, but with the latter opting for a more distinctly yet spirited bop approach. John Coltrane’s classic ‘Count Down’ ends the gig, but makes sure there is no sign of let up, possessing possibly one of Mehldau’s most energetic and spirited opening salvos, and helps end the whole recording on a bright and uplifting high.

Trio Live is a very rewarding album (live or otherwise) with something for everyone; be they already existing fans of Mehldau or new to the pianist and his trio. Certainly for any jazz fan this comes highly recommended, for while it may not be Brad Mehldau’s very best work, it does contain some of the groups most interesting and inventive playing, and overall is just a complete and winning package.

****

Review: Keith Jarrett - Vienna Concert

Keith Jarrett has been quoted, and repeated in the liner notes to this release, as saying “I have courted the fire for a very long time, and many sparks have flown in the past, but the music on this recording speaks, finally, the language of the flame itself” - typically modest and humble comments from the man himself, which admittedly don’t reach the level of self-belief of his ‘La Scala’ liner notes, but taken on their own terms, do speak the truth. Considered by Jarrett to be his most epic and simply best live improvisation, Vienna really is, from beginning to end, the most complete of his performances to date.

Part I is the centrepiece of the recording, and at forty-two minutes effectively divides itself into several movements. The first, at a dozen minutes, creates a simple and beautiful theme, and toys with it in various ways, slowly building the tension and creating a musical story. Beautiful, the music approaches an almost transcendant quality, before the second movement comes in, beginning quietly and then rising itself to a climactic crescendo. Seguing into another basic theme, Jarrett comes down in mood for the piece’s coda, quoting the theme from the earlier movement in a different manner, before ending with a truly sublime falling cascading motion of notes, allowing the listener a soft and satisfying conclusion to easily one of his most complete and ultimate performances.

One of the finest improvisations you will ever hear from Jarrett, or anyone, the way the themes are built into a tight narrative almost convinces you that the piece had to be composed. Possessing a devastatingly beautiful melody that builds into a soulful swagger and leads admittedly to a few of Jarrett’s trademark ‘oohing’ and ‘aahing’ as he knows he’s hit the right spots. Moments build and ease away, picquing the listeners’ interest and then drawing them in closer.

The second piece here starts with much more intensity than the first and overall doesn’t feel quite as varied, lacking the build and fall of the earlier piece. The prowess of Jarretts’ piano playing though is much on display as the music flows through a number of astounding movements and passages. Playing around a basic groove, it lacks perhaps the sophistication of Part I, and there is maybe a slight hint of Jarrett being tired after that gargantuan epic. More like a coda to the first part than a second individual performance, but as a stand alone it is an impressive piece.

The whole concert here is one of the most soulful and beautiful Jarrett has ever played. Even with the many wonderful works of beauty he has created spontaneously, this one glorious night in Vienna stands as his peak, with perhaps only his much-loved Koln concert to rival it. It is music of the highest calibre.

*****

Review: Gary Burton Chick Corea - Crystal Silence: The ECM Recordings 1972-79

Pianist Chick Corea and Vibraphonist Gary Burton had originally first attempted to play together in the 1960s, but had found that it didn’t really work. Playing in a quartet, with the piano and the vibraphone both being chordal instruments, the two had a habit of getting in the way of each other and not really being able to play side by side.

A few years later in 1972, both men happened to be performing at the Munich Festival as solo acts, and as fate would have it ended up being the two artists at an after hours jam. Without a rhythm section, and just having the other to play off, somehow there was an instant on-stage rapport between the two musicians – a rapport that immediately caught the attention of the then-present Manfred Eicher. His ECM label, still only a few years old, had already gathered a solid reputation for its strong releases and played host to a small number of Coreas solo piano works, and Eicher heard in the two players a potential new take on an intimate chamber jazz that would be a perfect fit for ECMs clear and pristine sound capturing and production.

What would eventually be released as ‘Crystal Silence’ a year later was in fact recorded in just one day in November of 1972 in a studio in Oslo. Despite the strong and passionate enthusiasm for the music they had all produced, Burton, Corea and Eicher had very low commercial expectations for the album, expecting the prospect of a piano-vibraphone duet album to entice just a relatively small audience. The album in fact though went on to garner superb reviews and eventually sell almost 500,000 copies.

Featuring material largely written by either Corea or Burton’s musical partner, bassist Steve Swallow, the sole exception is Michael Gibbs darkness-tinged ballad ‘Feelings And Things’. Coreas classic ‘Senor Mouse’ opens though and immediately sets high expectations, with the two instruments combining to form melody, harmony and rhythm, and then throwing the roles between the two. Despite the structured and detailed music, both men move responsibilities throughout, with at times electric spontaneity. Chamber jazz it may be, but here we see equal parts gentle music with at other times playing that has huge energy.

‘I’m Your Pal’ is a great ballad piece played to perfection, with more than a hint of gospel, and ‘Falling Grace’ is elegant and lively - elsewhere ‘Arise, Her Eyes’ is the only version you’ll ever need of arguably Swallows finest composition. Corea also brings two Return To Forever pieces to the party and they shine joyously, but nothing is as strong here as the title track. Nine minutes of beauty and nuance create an outstanding soundscape that highlights that although the two shine individually plenty, it is their subtle and brilliant interactions that both creates a kind of singular intent and sound that really raises the bar.

Obviously, the magic and beauty here was a huge personal success for the two friends, and luckily they happened to be entirely wrong about its commercial appeal. Six years though would pass before Corea and Burton would reconvene in the studio together, this time though without the presence of Eicher, and in Sheridan, Oregon. Corea in the interim had become a leader in the jazz-fusion world with the electric quartet version of Return To Forever, before ending the band and creating more orchestrated sounding solo works on the Polydor label. ‘Duet’ however signposted a definite return to more acoustic interests, which would in turn result in a line of further ECM albums focusing on his piano trio and solo ideas.

The ‘Duet Suite’ opens the album that in fifteen-minutes reveals a solid number of twisting melodies delivered in unison and the two virtuosos’ ability to play more than just mere notes from a page. Coreas Spanish percussive way of playing the piano too comes more to the fore.

This time Burton brings just two Swallow tunes, ‘Radio’ with its elegant swing and a solo piano section that is in this reviewers opinion the highlight of the album, and ‘Never’, a softer gentler tune that shows just how good a blend the dueting partners here can achieve. Corea, bringing the lions share of the tunes including the freshly written ‘Song For Gayle’, donates two more Return To Forever pieces, that best show how the chemistry between them had improved since their first meeting. It also fully demonstrates the duos ability to improvise and create both individually and together - Burton would later say playing with Corea was just like “having a conversation with your best friend”.

Almost a whole year later, the two would perform in Zurich, recording the show as ‘Zurich, October 28, 1979’. Opening with the same piece that opened ‘Crystal Silence’, ‘Senor Mouse’ has even more energy and virtuosity, helping quash any doubters’ thoughts about just how in the moment the two studio works were.

For too long only available as a single disc, a good portion of the performance was cut out. Thankfully here we again get the whole performance across two discs, which importantly allows us to hear both men play solo pieces and also more crucially gives us the proper flow of the concert. Proper and due consideration of track sequencing can often improve an album, especially with a concert performance, and ECM have always been incredibly aware and astute in terms of generating the right ‘narrative’, in large part to label head Manfred Eicher and his personal involvement and enthusiasm in everything his label produces. The earlier one disc version was good. The re-insertion of Burton taking on ‘I’m Your Pal’ and ‘Hullo, Bolinas’, and Coreas’ captivating fourteen minute version of his own ‘Love Castle’ (originally just five minutes long) though, returns it to undeniably great.

Interestingly, as testament to the pairs growing collective skill and fell for the music, all of the tunes from the studio works are different and arguably for the most part better. The already sublime ‘Crystal Silence’ is somehow enhanced further, benefitting from a more percussive Corea, who donates three new tunes; the bright sounding ‘Tweak’ and ‘Mirror, Mirror’, and the bebop-esque ‘Bud Powell’, which interestingly would later become a Corea favourite for his acoustic groups. What really sets it so high though is its impeccable sound and capture of the instruments on-stage - making ‘In Concert’ a great and vivid live document of a duo that can really generate a strong sense of atmosphere.

This superb 4-disc box-set from the always high-calibre ECM collects these three duo albums recorded for the label. 1983’s ‘Lyric Suite For Sextet’ also recorded by the two isn’t included, it not being a duet performance like the other three and therefore thematically being very different (in truth it is also nowhere near as stellar a work as any of the three here). The pair of studio albums are as good as they have always ever been, boasting tunes, atmosphere and crystal clear sound in spades. For most though, it is the live album where the real money is, feeding off the audience the live set is just incredible, and for a long time only available in truncated form, here it is restored to full and deserved double-disc glory. Corea transforming the previous electric group piece ‘Love Castle’ from his earlier ‘My Spanish Heart’ into a lengthy expanded what can only be described as tour-de-force alone is worth this new chunk of gold, but this whole package is compellingly good.

Gary Burton and Chick Corea continue today, individually and with respective groups, to play and record at an incredible and productive rate. As a duo, and with each other and other players, they play together every year, although recordings of the two duetting are still small in number. ‘Crystal Silence – The ECM Recordings’ is a very welcome release at a very appropriate time, helping to celebrate both Manfred Eichers labels historic 40^th birthday and also the musical pairing also nearing the same anniversary. Beautiful and daring, Burton and Coreas music is as fresh and moving today as it was on its original release.

*****

Review: Hiromi - Spiral

After her first two superb releases ‘Another Mind’ and ‘Brain’, Hiromi hits the ground running with her third, and best, album yet, ‘Spiral’. Comprised entirely of self-penned compositions, her music mixs a heady brew of various dramatic themes, and places them into a distinctive kinetic jazz setting.

The lead-off title track begins with a slow build before crescendoing into a full jazz workout, where the trio gets to flex their muscle. Possessing a strong bluesy feel, it continues throughout the second more melancholic number, before hitting a peak on the following piece, which winningly displays strong percussive flourishes from Martin Valihora. Outstanding though is Tony Grey, who having more than proven himself both on Hiromi’s previous two recordings and live on stage, steps up a further gear and delivers some awesome high-end bass work, that at first adopts a solo guitar role before returning to its rhythm nature and provides a truly hypnotising groove.

Penultimate track ‘Love And Laughter’ takes on a nice swing jazz feel, and stands out as being the piece to play the uninitiated. Comparisons abound still with her heroes Jamal, Corea and of course Peterson, but the most present voice here, overwhelmingly is her own; her piano at the same time driving and elegant, and crucially hitting the mark in both intellectually and soulfully.

What comes next though completely changes tact; ‘Return Of Kung-Fu World Champion’ energetically leaps into the fray with Hiromi employing analogue keyboards and electronics to power forward an exhilarating update on her earlier ‘Kung-Fu World Champion’. Hiromi’s switch to grand piano midway through too adds a dramatic thrilling touch, with a driving low-end rhythm, and even if not a fan of the previous incarnation, this new one is simply stunning and all of the band are on full-throttle, going to show how not just Hiromi, but all of the band have improved.

‘Spiral’ then is a brilliant work that has so far best realised Hiromi’s potential (no easy feat). Where brilliance was in spades on her first two albums, occasionally mis-placed effects and electronics could put off some listeners. Here however, the balance between the sounds is perfect, and just as importantly the album flows astonishingly well. If you have to start with one Hiromi record, make it this one. We can only salivate at the prospect of her future works.

****

Review: Keith Jarrett - Staircase

Aside from Keith Jarrett’s much, and justly, celebrated solo concert improvisations, such as the popular ‘Koln Concert’ and ‘La Scala’, he has also on a handful of occasions entered the studio with the intent of improvising purely in-the-moment music. The most famous of these is the first solo improvised effort he recorded for ECM records, the classic ‘Facing You’. A slightly less well-known but much more ambitious, much grander statement is his later double album package ‘Staircase’.

‘Staircase’ is of course a slightly misleading title, as only three of the pieces here are named as such, with the others being various parts or ‘movements’ under the banners of ‘Hourglass’, ‘Sundial’ and ‘Sand’ – not that the mood changes a great deal throughout to justify the differing names. Although on the original vinyl pressing, it would have made a neat set of titles for each LP side.

Taking a slightly different path from his usual solo studio albums, Jarrett avoids his usually favoured funkier and overtly gospel tones of his earlier sessions, and chooses instead a deeply introspective and reflective direction. It then manages to be simultaneously one of his best and his worst, and exemplifying both.

‘Staircase’ one through to three is beautifully played and showcases Jarrett’s perfect touch and sensitive handling, but it is ‘Hourglass’ that is the unquestionable peak here; lyrical and moving, part two is one of his most gorgeous moments of all time, and even the most ardent Jarrett critic will struggle not to love it.

The second half of the double-set then is where the let down comes. Still sensitively played, ‘Sundial’ and ‘Sand’, though with elegant highs, meander for notable periods, becoming repetitive and occasionally flat, almost as though the pianist is momentarily lost for ideas and comping whilst waiting for inspiration to again hit. Also in the mix is some unwelcome dissonance and atonalism, which while they have their place, tends here to upset the otherwise inward-looking and gently soulful mood.

It’s hard to find a bad Keith Jarrett album, and his pitch-perfect tone and exquisite touch are always there to both admire and be hypnotized by. Here he finds great beauty which can often take the listener to musical places never before felt, and yet there is a certain wasted space, with a sometimes directionless tinkling of the keys sounding free of any of the necessary inspiration that his usual live audience provides. ‘Staircase’ is mostly strong and an appealing lesser-known work from Jarrett’s vast catalogue that, though would have benefitted from some editing, comes with many highs and also a fair smattering of lows. Jarrett has produced much better and much more consistent, but on its own terms this ambitious sprawl remains a definite and stand-alone listening pleasure.

***

Review: Keith Jarrett - The Melody At Night With You

During the late 1990s, Keith Jarrett had started to feel ill; seriously ill. Having for over 30 years been touring and recording as a solo improviser, as an interpreter of the classical works, and with his trio, among countless other groups, he ended 1996, at just 50 years of age, with a diagnosis of Chronic Fatigue Syndrome. Almost immediately he consigned himself to his house before attempting to rest and recover through an intense treatment program.

Two years of inactivity followed, with no new releases or performances, and almost certainly minimal contact with the piano. Then, faced with buying a Christmas present for his wife, and unable to leave the house, he miked his home piano and hit the record button. The results he gave to Rose Anne Jarrett. And now, much to our good fortune, he has given us ‘The Melody At Night, With You’.

If you’d followed Jarretts works chronologically up to this point, ‘The Melody At Night, With You’ would come somewhat as a surprise. Featuring only tiny occasional improvisation, this album is made up of just ten classic songs performed simply and disarmingly. Careful and thoughtful, Jarrett here removes any trace of technical elaboration or virtuosity, instead choosing to focus on the bare essentials of melody and harmony.

‘I Loves You Porgy’ is, despite its over-familiarity, sublime, while ‘Someone To Watch Over Me’ is the perfect example of Jarretts ability to make any record his own with his own delicate and light-as-a-feather touch. The same lightness of touch comes to the fore of the sad beauty of ‘Blame It On My Youth’ which moves into the only improvisation of any length here titled ‘Meditation’.

Elegant in its conception this is music to move Jarrett, and in moving Jarrett, music to move his fans. For those that have always enjoyed his more exploratory works, you may perhaps find this too spare, too simple. But for those who are put off by his vocalisations during his performances, which admittedly are at times surprisingly loud, they will find a record almost entirely absent of this distraction. A very much night record, the presentation here is almost ethereal, and yearns to be heard by everyone at least just once.

For all fans of solo piano, jazz or otherwise, this introspective recording is near perfect, with only the slightly lo-fi recording sound negatively impacting in any way – especially when compared with ECM’s usual pristine crystal clarity sound. Regardless of this, it is an astonishingly subtle musical statement. Jarret has said many times just how intensely proud of it he is. A beautiful listening experience, he has every right to feel so proud.

****

Review: Stanley Clarke Trio - Jazz In The Garden

Stanley Clarke has had an incredible career, fully of variety and experimentation – taking in traditional acoustic jazz, fusion, and a wide variety of film scores. He has also unfortunately had equally vast variety in the quality of his works, with a catalogue that includes equal parts masterpieces, forgettable fluff and those that are merely just okay.

Having spent most of the last few decades with the electric bass, Clarke - choosing to play in a rare piano trio - re-unites on ‘Jazz In The Garden’ with his Return To Forever partner in crime and drummer Lenny White, and returns for the first time in years to the acoustic bass. For the piano chair, Clarke could choose any pianist in the world, and for his return to the acoustic format, he chose the 29 year-old Japanese star Hiromi. A junior member in age alone, her solo work has already grabbed critics and audiences alike, and has shown that she should more than hold her own with the two veterans.

Opening with the Clarke original ‘Paradigm Shift (Election Day 2008)’, Clarke shows us we have much to look forward to, with a minute-long opening that shifts and changes directions tantalisingly, the bass establishing the rhythm punctuated by the cymbals of Whites drumkit. Clarke’s bass playing shows incredible dexterity, with some high-class slap-bass and use of the upper range. Sometimes the sound will make you swear he’s playing electric bass, but he’s not – he’s just that good he can caress the sounds from an acoustic bass that just sound electric. A climactic finish between the two rhythm buddies, with fast playing from Clarke and stunning tom rolls by White closes a perfect opener.

Hiromi brings two original pieces to the album, the very beautiful ‘Sicilian Blue’, which alone could become a Hiromi calling card, and the harder ‘Brain Training’ which features the bass and piano, riffing and swinging together in a strong bop. Aside from the two excellent originals, Hiromi also brings the traditional Japanese song ‘Sakura Sakura’ that is reworked to such a startling effect, with Clarkes’ bass echoing a traditional koto it becomes a highlight of the album.

Elsewhere we get some group improvisation in the form of duet piece for piano and bass ‘Global Tweak’, which is an effective jam that carries the two musicians and us along for a thrilling ride. ‘Take The Coltrane’, with its odd slowed down drum ‘n’ bass feel, simply sounds like two old friends having a ball, and we’re allowed to join in for the fun, whereas ‘Three Wrong Notes’ showcases Hiromi’s awesome talents to perfect effect in a style reminiscent of Brubeck or Powell, but it is Miles Davis’ ‘Solar’ that scores as the album standout, with some great arpeggio runs from Hiromi, while White lays down some sublime polyrhythmic work. A clever role reversal enters when the piano takes the bass role, while the bass plays melody.

The album closer is the odd choice of Hiromi’s arrangement of the Red Hot Chilli Peppers ‘Under The Bridge’, which although surprising, works wonderfully, with Clarke and Hiromi trading the lead melodic line duties with each other. The bass is downright funky, the sound intensifies and builds throughout, with the chorus adding an ethereal quality, and Hiromi offers first a discordant break before then launching into a free and expressive solo, building and then coming to a full stop.

Clarke has, contrary to the popular common opinion, played acoustic bass, on many occasions. But ‘Jazz In The Garden’ is his first all-acoustic album as leader of his own group, and interestingly, more than any other piano trio around, the bass seems more involved - both as lead and as rhythm – and it works stunningly well. As do his inspired bandmates, who both manage to innovate and sound like no-one could better them on these sessions. If there is one complaint, it is that Hiromi’s piano solos sometimes don’t sound completely integrated with what Clarke and White are laying down, almost as though someone has photoshopped a superb solo over a different rhythm, but the match doesn’t always quite fit.

Regardless, all the music here is first-rate and is an unexpected surprise from three musicians more commonly associated with more experimental and electrically-powered fare. Highly recommended for fans of any of the three players here, one can only hope the Stanley Clarke Trio is not a one-off project.

****

Review: Hiromi - Brain

Japanese pianist Hiromi exploded into the music world with her debut ‘Another Mind’. Displaying almost over-whelming technique and power at the keys, both she and her album grabbed your attention, took you on a rollercoaster and left you breathless and slightly dazed.

Album number 2, ‘Brain’, then does not grab you in the same way – it couldn’t - but still showcases an incredible and still very young artist who has plenty to say. Opening with the surprisingly electronics-heavy ‘Kung-Fu World Champion’, Hiromi displays a mastery of analog keyboards and squiggly sounding synths, with Tony Greys bass also perfectly melding into the mix. A few minutes in, Hiromi switches to building the pace with the acoustic piano, and the vibe generated is first rate. The next two tracks in comparison are entirely acoustic piano-trio pieces, with ‘If’ a perfect example of trio interplay, the bass and drums more to the fore than previously seen, and with ‘Wind Song’ displaying a dreamy waltz-like quality.

Throughout the album the piano does dominate, and rightly so - in Hiromi’s hands, the instrument is masterful and comes alive. However the keyboards that Hiromi also enjoys are more prominent than on her earlier recording. The title track for the most part, for example, sounds like a winning theme from an Oscar-nominated underdog epic, but is book-ended by some swirling keyboard effects that tend to jar and stand out. The penultimate ‘Keytalk’ too moves from an all-out jam with wonky sounding keyboards, before settling into first a more jazzy, then African sounding, dance groove. Sliding into a more European dance feel, the electronic sounds don’t truly gel with the rest of the music around it, and sounds much more ‘assembled’ than the more organic live interplay going on.

Much more successful are the acoustic piano pieces; ‘Desert Moon’ with its galloping pace but lightness of touch gives it a feel of a more sprightly Bill Evans, but perhaps as backed by Buddy Rich, whilst ‘Green Tea Farm’ with its moving slow and plaintive quality has more than a hint of prime era Keith Jarrett.

Best of all though is the ending ‘Legend Of The Purple Valley’. Epic in sound, it switches between jazz and film score music. Sounding like Hiromi is going for her very own concerto, it makes a truly great finale to the album.

After the success of her debut ‘Another Mind’, ‘Brain’ offers a follow-up that takes some new directions. Each of the pieces manages to be varied and interesting, while still holding as a complete album. Very occasionally the electronic sounds don’t gel with the acoustic. Make no mistake though; this is not a fusion record. Hiromi basically is making an album of music that she wants to make – some jazz, some some classical, a hint of rock, acoustic here, electronic there. Some listeners then won’t like what they hear, but everyone will find something here that will hook them. All of the pieces are bursting with incredible ideas, and for anyone willing to listen without prejudice to the electric elements, will find an awesome and satisfying musical journey.

****

Review: Hiromi - Another Mind

You may have heard of wonderkid piano player extraordinaire Hiromi Uehara, usually known simply as Hiromi. You may not. Chances are that if you have, then her name was more than likely mentioned accompanied with a gushing side of superlatives. Always dangerous, as when an artist then fails to be anything other than ‘the best thing you have ever heard up until this point right now’, criticisms come to you just as easily as the superlatives do to the gushing fan.

Hiromi grew up listening to a number of jazz players and took up the piano at the tender age of six, where she then quickly (very quickly just under a year later) became a student at the Yamaha School of Music. At the age of twenty, she then found herself at the prestigious Berklee School of Music. But as if that weren’t impressive enough, she also found the time to both meet and be mentored by such legends as Oscar Peterson and Chick Corea. Ahmad Jamal though saw such a talent, that the two became close friends and it is his production work that features on this, her debut album.

With such close mentorship, problems and accusations of having too similar a sound often arise. Here though, that is not the case. The aggressive opener ‘XYZ’ displays a driving rhythm with some beautiful cascading piano lines, before settling into a hypnotic bass and drum groove with some impressive piano variations skipping over the top. A great beginning, it sets the tone brilliantly for the rest of the album.

‘Double Personality’ that follows features again a strong band, this time with additional guitar and saxophone. A taut balance of rhythm and melody, the band speeds from one variation to another. At the nine-minute mark, it sounds like a party you wish you’d been invited to.

Similarly ‘Summer Rain’ and ‘Joy’ maintain the uptempo mood, but with more of a funk feeling. After the weaves of the first two tracks, these two pieces are easily the most accessible tunes here. ‘01010101’ alternatively has a surprising electronic sound that warrants its title, even if the keyboards featured sound out of place, played on the piano or organ, this would have been sublime. When the piano does come in much later, it fits much better. None-the-less, the track oozes fun.

‘Truth And Lies’ and the title track offer much heavier and moodier themes, whereas ‘Dancando No Paraiso’ sandwiched between them possesses a fun fast jaunt that settles into a slow groove but Hiromi still tinkling like a fast-flowing stream. A brief and enjoyable drum solo then gives way to a perfect salsa-esque piano run, that can’t help but raise a smile to your face.

Bassists Mitch Cohn and Anthony Jackson, drummer Dave Di Censo and guests Jim Ogden on alto saxophone and Dave Fiuczynski on guitar give fine support, and Hiromi in turn gives them great solo spots. Together the music encompasses a wide variety of musical tastes, taken in such luminaries as diverse as JS Bach through to King Crimson. An incredible debut performance, this amazingly was made while Hiromi was still attending music school. One can only wonder at what she’ll come up with upon graduating.

The ending bonus solo piece ‘The Tom And Jerry Show’ is a superb display of Hiromis dexterity and also her strong sense of melody. Playful and energetic, its sense of infectious fun seems to mirror the feel, as well as the pacing, of a Tom and Jerry cartoon. It is a perfect ending to a great album. The only problem is that by the end you’ve run out of superlatives.

****

Review: Andrew Hill - Black Fire

Andrew Hill is one of my favourite piano players, not just as a player, and not just as a composer but the whole package - Hill as an exhileratingformer of his own material. His music is an underrated delight - always complex, always involving and sometimes reaching high peaks of emotional intensity. Any of his Blue Note work throughout the 1960's is well worth investigating. And aside from his career peak of 'Point Of Departure' (featuring none other than Eric Dolphy) you can't make a better starting point than his debut as leader - 'Black Fire'.

Andrew Hill was a firm fixture of the Blue Note roster during the sixties, recording a dozen albums as a bandleader as well as contributing his highly personal, distinctive playing and compositional talents to a number of well-renowned artists on the label. Later as part of the free movement, his work was perhaps less austere and more accessible than that of his more well-known contemporary Cecil Taylor, although his determination to play only his own material and do so only as a leader, meant that his opportunities to play live and record would slowly thin out over his life and career.

For his time at Blue Note however, he had a strong asset in the respected label owner and producer Alfred Lion, who both admired and enjoyed the pianists sound, but also later became something of a friend to Hill. Thus despite a perceived lack of great commercial success this meant that Lion was always eager to record and release any of Hill’s sessions, and from as early as his Blue Note debut ‘Black Fire’ you can easily see why the famed producer was so drawn to the then young talent.

The music of Hill is highly original, taking in hard bop, but also rhythms and harmonies not usually heard in most jazz forms at the time, and his restless energy trying to achieve as much as possible, dipping into numerous styles, genres and techniques - all this and very definable melodies in every piece. The strong group too is not bound by any playing constraints of the label hard bop, with Joe Henderson, Richard Davis and Roy Haynes all contributing as much as they can, in tis very different take on the standard template of a saxophone-piano quartet.

Although a quartet outing, on occasion one of the players sits out. Most obviously Joe Henderson’s saxophone is absent from the highly percussive piano trio effort of ‘Subterfuge’, while on ‘McNeil Island’ a very different sound is generated by drummer Haynes staying silent. Perhaps the best thing here though is the brilliant ‘Pumpkin’, featuring one of the most distinctive basslines in modern jazz, while the title track can be best summed up as being a ‘sinister waltz’.

Complex, but not inaccessibly so, the combination of adventurous jazz solos with African sounding rhythms make ‘Black Fire’ an absolute winner, that together with the sheer talent of the four players make it a jazz classic. A great debut and one of the underrated Hill’s very best.

*****

Review: Keith Jarrett - At The Blue Note: The Complete Recordings

As big a fan as I am of Chick Corea, Herbie Hancock, Brad Mehldau, Vijay Iyer, Bill Evans, Bud Powell, and many more, it is Keith Jarrett whose piano sound I find myself craving the most. Why? I'm sure I could write a book, and still not quite put my finger on the exact reasons, but needless to say it is Jarrett's solo, trio and quartet works that reach me the most. In his time too he has issued two bumper six-disc 'complete' sets, one featuring all the solo concerts from a tour in Japan, and this one below, a set showcasing a complete three-night residency at New York's famous Blue Note club.

When reviewing a piano trio of any notable standing, it has become the standard expectation of the reader, almost to the point of cliché, that at some point the reviewer will insert some words of comparison with the classic Bill Evans trio of Evans, Scott LaFaro and Paul Motian. Truly groundbreaking, that superb group redefined the way a trio could play, in just the short few years that they were together. This is especially evident on the live performances they recorded, for most with the universally lauded ‘Complete Village Vanguard Recordings’ set, from which the individual albums ‘Sunday At The Village Vanguard’ and ‘Waltz For Debby’ were also pulled. With no disrespect to those outstanding musicians or recordings intended, that constant source for comparison needs to be toned down, if only through overuse, but also because Keith Jarrett’s trio comprising himself, Gary Peacock and Jack DeJohnette, have arguably set a new template.

Having played together since 1983, the ‘At The Blue Note’ box-set documents a three-night residency at the New York venue from June 3^rd to the 5^th in 1994, with each disc giving us a complete set. Typical of the trio, they ignore the usual dynamics of the bass and drums simply providing rhythm and marking time for the lead of the piano. Instead each of the group, with Jarrett providing the guiding voice, has the freedom to explore whatever avenues are suggested by the tunes. And as such each of the tunes here are presented in many varied ways, with some pieces being played as written (‘When I Fall In Love’), others with stretching out the melody or bridge (‘Things Ain’t What They Used To Be’), and others are completely deconstructed and played in a way never heard before. ‘How Long Has This Been Going On?’ at nine minutes for example never once comes close to stating the melody of the song until it’s pretty much over.

With massive live documents such as this (thirty-eight tracks over six discs in a hefty but sturdy box), you can often expect a good deal of repeated songs – hopefully each time played in a different style or pace. Here though only three pieces are repeated over the six sets, including a very welcome take on Jarrett’s own ‘No More Lonely Nights’, which serves to show us just how perfectly this band can resolutely never play the same piece the same way twice. And even on recorded sound with no visual aid of being there, you can sense the palpable excitement of the players as they push each other further on to their shared goal.

The sound here is truly remarkable too - as indeed are all ECM live recordings. Peacock has never sounded better, with his bass deep and heavy, mixing perfectly with the always impressive cymbal work and here incredibly vibrant playing from DeJohnette. And of course Jarrett sounds pristine, his piano and perfectly light touch never captured badly. Each note is played with a pristine touch and pitch, and the cascading runs feel fluid and beautiful everywhere throughout this set.

And again, as with all live events captured by Manfred Eicher, the audience is there, but not intrusively so; you can feel them and after each song you can hear their appreciative and sometimes rapturous applause, but they never interrupt the music – save one occasion on the first night and set opener ‘In Your Own Sweet Way’, where you can clearly hear a bottle go tumbling from one of the tables.

An outstanding trio, captured crisply in an intimate and world-famous venue, this is high-calibre in every sense of the word. This is a stellar group captured at a then peak of their abilities and their collective telepathy. At six hours and a hefty price tag, it is a lot of music for a lot of money, but you won’t find a better collected document of the three playing together, and to be able to hear every recorded note of a whole residency really is something else. For the newcomer, there are good one and two-disc sets of this group, including a single-disc one-set performance from this box. But for the fan who already owns some of this so dubbed ‘standards trio’, and loves the sound of a piano trio is full swing, this is invaluable. A five-star collection in every way. And the trio's take on Monk's 'Straight, No Chaser' here is absolute class.

*****