Peacock and DeJohnette follow him through it, gladly. All three players have roots in the jazz avant-garde. Peacock played with Jarrett for the very first time at the Tales of Another session. With just a melodic fragment, he opens a secret door. He halts the interview, excuses himself and asks her-gently, lovingly-to close the door or talk somewhere else. The subsequent efforts-Up for It, The Out-of-Towners, Inside Out, Always Let Me Go and a new two-disc standards document, My Foolish Heart, recorded in Montreux in 2001-convey a sense of steady momentum.
Engineered by Jan Erik Kongshaug. Some of these are written tunes; others are spontaneous, vamp-based, harmonically static, part of another vocabulary. Age is having a paradoxical effect: Along with the bodily wear and tear-Peacock is 72, with his share of recent health problems-comes a certain spiritual release. Hmm, could it be that this has happened before? It takes a little bit of thought. But you don't need to know that history to hear the band's exuberance over Jarrett's teasing yet hard-rocking vamps, Garbarek's brusque power and the rhythm section's energy and freedom.
Plenty of musicians have width. Less than a year later in Tokyo they did the same. There are times, Jarrett maintains, when politeness in public is ineffective or worse. So begins an alternating pattern of valleys and peaks, which by the end leave behind an even more cohesive program than the first. Join 1,135 other followers Sign me up! What happens is if you could tell the germination of the piece came from something I played, that was one thing. Most of the free pieces on these albums are credited to Jarrett, although two of them bear collective authorship.
Sleeper confirms that this was indeed the case. Feeling brazenly disrespected, Jarrett lashed back. And then the story was finished. It surprised us because we were ready to dig in. To spin At the Deer Head Inn back to back with the 1999 album Not Two, Not One, featuring Motian and Peacock with Paul Bley, is to straddle the space between parallel worlds.
We knew that there was something very special there. Peacock and DeJohnette share a flawless rapport, the drummer popping off that snare like a machine gun. And poof, we hit this depth. This is a diamond in which every occlusion represents an opportunity for clarity. Musicians on all instruments have been influenced and inspired by Keith Jarrett s work in general, but also by this quartet in particular.
Just the night before our discussion, Sonny Rollins made a historic return to trio playing at Carnegie Hall, alongside Christian McBride and Roy Haynes. The band made their last studio album, Belonging, on the same trip — this one covers many of the same vivid Jarrett originals, and is the better set. And our focus is already there. These songs have a soul that can be found. . But this entity continues to prove otherwise.
To be sure, the more upbeat tunes have a crispness all their own. He approached the pianist soon after about some touring, but Jarrett declined, preferring to focus on solo concerts. We get a tantalizing early glimpse of Jarrett playing standards from Buttercorn Lady, a 1966 album by Art Blakey and the Jazz Messengers. So we went in to do just one album. As a companion piece to the live albums Nude Ants and Personal Mountains both recorded the same year, even though the latter album was only released in 1989 , Sleeper offers another noteworthy document of the creative interplay between these four musicians.
In these tunes the band reaches a high point of synchronicity, working a detail-oriented art into a genre all its own. So Tender has the shape of a standard ballad audibly not to Garbarek's liking but then loosens. We were trying to be ourselves. Peacock, he adds, is light sensitive. The recent free recordings came about naturally: After a lackluster soundcheck in London, the three opted to abandon standards for the night and wing it instead. So what that leaves is everything.
Every single note, the whole being went into it. Rather than merely running down the changes and soloing over them, Jarrett's trio has turned playing standards into a rare form of spontaneous composition. The Tin Pan Alley songwriters are in there, but so are Oliver Nelson, John Lewis, George Shearing, Ahmad Jamal, Benny Golson, Clifford Brown, Gerry Mulligan and Billy Strayhorn. Peacock rarely takes lengthy solos, but even the briefest of statements, as he takes here, is deep on tone and rich in substance, with Jarrett's reentry signifying a major leap in energy for the tune. There were three individuals, but there was one mind expressing itself. However, to expand our offerings and develop new means to foster jazz discovery we need your help. What distinguishes them, as made clear in this concert opener, is their consistent ability to surprise.