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.
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