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2 x CD |
| 12.657 Ft
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| 1. CD tartalma: |
| 1. | Four
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| 2. | My Foolish Heart
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| 3. | Oleo
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| 4. | What's New
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| 5. | The Song Is You
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| 6. | Ain't Misbehavin'
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| 2. CD tartalma: |
| 1. | Honeysuckle Rose
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| 2. | You Took Advantage Of Me
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| 3. | Straight, No Chaser
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| 4. | Five Brothers
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| 5. | Guess I'll Hang My Tears Out To Dry
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| 6. | On Green Dolphin Street
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| 7. | Only the Lonely
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Jazz
Recorded: July 22, 2001, Mountreux Jazz Festival
Jack DeJohnette - drums
Keith Jarrett - piano
Gary Peacock - double bass
Jarrett/Peacock/DeJohnette live at the Montreux Jazz Festival in 2001, still finding gems in the rich seams of the standard mines: a great trio at the top of its game in gleaming new spontaneous arrangements of Thelonious Monk's "Straight No Chaser", Fats Waller's "Honeysuckle Rose" and "Ain't Misbehaving", Sonny Rollins's "Oleo", Gerry Mulligan's "Five Brothers", Miles Davis's "Four" and more, as well as Tin Pan Alley evergreens including "My Foolish Heart", "The Song Is You", "Guess I'll Hang My Tears Out To Dry" and "Only The Lonely". A great performance, touching on much of the history of jazz.
* Junichi Hirayama - Photography
* Manfred Eicher - Producer
* Martin Pearson - Engineer
* Rose Anne Jarrett - Photography
* Sascha Kleis - Cover Design
"This is a concert recording I was holding onto until the right moment presented itself. It shows the trio at its most buoyant, swinging, melodic and dynamic. (...) If jazz is about swinging, energy, and personal ecstasy for the player and the listener, I can think of no other single concert by the trio that expresses these qualities so completely and comprehensively. "
--- Keith Jarrett in the liner notes.
"My Foolish Heart" documents the music made by Keith Jarrett, Gary Peacock and Jack DeJohnette at Montreux's Stravinsky Auditorium in July 2001. It is an unusually encyclopedic performance, even by the trio's criteria, and one that fairly romps through the history of jazz in celebratory spirit. There are tunes from some of the music's masters - "Four" by Miles Davis, "Straight, No Chaser" by Thelonious Monk, "Oleo" by Sonny Rollins, "Five Brothers" by Gerry Mulligan. There is a characteristic scattering of standard tunes, too, including "What's New", "The Song Is You", "Guess I'll Hang My Tears Out To Dry", "Only The Lonely" and "On Green Dolphin Street", in each instance the musicians prise open fresh perspectives on familiar, and timeless, material.
Unique to this concert is the inclusion of three pieces in stride and ragtime styles, played with verve enough to conjure up the ghost of Fats Waller on "Ain't Misbehavin'", and "Honeysuckle Rose" (both Waller tunes) and on "You Took Advantage Of Me", a Rodgers and Hart piece from the 1928 musical "Present Arms": in total more than twenty minutes in the ragtime zone before the trio exits by way of Monk's "Straight, No Chaser", a further expression of the balance between joy, creativity and idiosyncratic humor that is specific to jazz.
Already in the sixties Jarrett sometimes incorporated ragtime elements in his freer pieces and compositions (his 1968 album "Somewhere Before" contains such instances), and he once told an interviewer that Scott Joplin would be his first choice of music for a desert island. But classic early jazz and the Harlem stride tradition are aspects of the music that the bebop-aligned 'Standards' trio with Peacock and DeJohnette had never addressed on disc - until now. Bassist and drummer, improvisers ready for any development when playing with Jarrett, swing resolutely behind the pianist on "Ain't Misbehavin'". Peacock even takes a stoic solo in this (for him) uncommon terrain, and in the closing section Jarrett and DeJohnette trade fours, to the evident delight of the crowd.
Jarrett: "It is a perfect demonstration of our commitment to jazz that these [ragtime pieces] do not come off as mimicry. They were as real and alive for us at the time as anything that came before or after. This, indeed, was a concert containing so much of the breadth of what we have been doing with 'Standards' these almost 25 years, that now is the time to hear it."
"My Foolish Heart" is the 18th ECM release from the unit widely viewed as the world's leading piano trio, now rapidly approaching its 25th anniversary: It was in January 1983 that Keith Jarrett, Gary Peacock and Jack DeJohnette came together - with producer Manfred Eicher - a day before the now-legendary Power Station sessions which were to signal a re-immersion in the world of standards, and a reaffirmation of faith in the jazz tradition. Their first recording session brought forth three albums: "Standards Vol. 1", "Standards Vol. 2" and "Changes". These first three discs will be reissued in January 2008 as a 3-CD box set, with the title "Setting Standards: New York Sessions".
My Foolish Heart is an anniversary release celebrating 25 years of the Keith Jarrett, Gary Peacock, and Jack DeJohnette trio's traveling and performing together despite the rich and varied individual careers of its members. Recorded in 2001 at the Montreux Jazz Festival, Jarrett held the tape close to the vest until what he felt was the right time for release -- whatever that means. The bottom line is, listeners are very fortunate to have it. The official live offerings by this group have always been crystalline affairs of deep swinging communication, no matter the material. Not only is My Foolish Heart no exception, it is perhaps the standard by which the others should be judged. Almost two hours in length, the program is comprised entirely of jazz and pop standards -- beginning with a tough, limber, punchy version of Miles Davis' "Four" lasting over nine minutes. That the music begins like this, so utterly strident and swaggering, full of lyric invention and energy, is almost reason enough for purchase. The inherent commitment to the music is not measured: it's total. There are few -- if any -- groups in jazz that have been together for such a long time. And there are few groups new or old that are even capable enough to manage such a wide-ranging selection of the repertoire: from the title track and "Four" to "Oleo," "Straight, No Chaser," and even "Five Brothers" But the selection of material is only the wrapper. What's inside it is not just the history of jazz but history in the making, because these three prove beyond all measure not only the vitality of the material but also the necessity of the trio interpretation of it, and indeed what is possible: bop, hard bop, post-bop, swing, and here even ragtime, played with all the seriousness and joy it demands. The readings of Fats Waller's "Ain't Misbehavin'" and "Honeysuckle Rose" and Rodgers & Hart's "You Took Advantage of Me" are wild affairs, beautifully executed, sure, but played with the requisite emotion that new interpretations require.
On this set, these tunes have been brought out of history, out of the canon of milquetoast sweetness as diversions for the purpose of entertainment, and out into the present as revelatory statements in harmony and rhythmic and lyric invention. The interplay between Peacock and DeJohnette is utterly dynamic. The way these two not only complement but also challenge one another creates a sense of balance that allows Jarrett room for flight -- not into his own quirks as a musician, but into the entire universe of jazz. Peacock and DeJohnette solo a lot here, with in-the-pocket contributions to the melodic panorama of the music. The ballads, too, such as the delicate reading of Sammy Cahn and Jule Styne's "Guess I'll Hang My Tears Out to Dry" and the curious but spot-on choice for a set closer, Cahn and James Van Heusen's "Only the Lonely," are read with such sensitivity and confidence that overly reverent interpretation (a trap for any player who risks bloodlessness) is impossible; the nature of "song" is kept as the trio offers these renditions with deep emotion and a singer's sense of space and elegance. Over 13 tunes, this band offers more surprises, delights, and jaw-dropping musical acumen than even fans believed possible. As Jarrett writes in his liner notes, "There was no other night when we felt that we had to (almost literally) grab the audience by the throat and shake them into hearing what we were doing." Perhaps they were distracted by heat, bad sound, and lighting problems -- Jarrett speaks to these twice in his notes -- but perhaps, until they reached the ragtime segment of the set that demanded a waking response, they were just floored by the swinging intensity with which the set began. Whatever the reason, this document is a mindblower from start to finish, and there are moments when all you can do in response is look at the box slack-jawed and wonder if what you just heard really happened. It did and it does, over and over again. This set is a magical, wondrous moment in the life of a trio when it all comes pouring out as inspiration and mastery.
---Thom Jurek, All Music Guide |
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