Keith Jarrett / Gary Peacock / Jack DeJohnette - My Foolish Heart
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Free Music Notes for My Foolish Heart
Free Music Review: Inspired to write another review
Hit: 4 Stars
It's unfortunate but sometimes I am inspired to write a review for the wrong reason. The right reason would be the product in question (in this the case, "Keith Jarrett/ Live at Montreux"). But as has been the case before, I am driven to write a review because of someone's else's review(s). Some reviewers have flippantly criticized stride piano playing and Jarrett's choice to include the Fats Waller tribute of sorts on this CD, someone actually went as far as to call it wedding music!?? (this is got to be the most absurd comment of them all, unless you include when he mentions his mother). Firstly, the fact that stride piano isn't in style anymore is irrelevant. I love stride piano and always have (Fats Waller in particular). As a professional pianist, I can attest to the extreme technical difficulties involved in playing good stride piano. It requires strength, endurance, and impeccable time. Not to mention, when it's done well, it swings like mad. Jarrett does an admirable job made all the more interesting by the fact that this is a real departure for him. I am mostly familiar with his trio things and I haven't heard him ever approach a standard like this (with the exception of "Wrap Your Troubles in Dreams" from the "Whisper Not" disc which isn't on a level with the three stride like numbers from this disc). Of course stride piano is usually performed solo but there are a fair amount of Tatum and Waller tracks that were recorded with a group. Jarrett's trio really does put their own spin on this and it swings. Just ignore the aforementioned reviewers. They are doing anyone that might purchase this cd a disservice.
The rest of the CD is also excellent. Only complaint from me would be the sound. A little boomy at times, and occasionally the bass gets lost. In addition, the drums sound a little unbalanced. One drum (can't tell which one) sounds particularly loud in comparison to everything else. The "Still Live" CD (also by Jarrett) is plagued by similar recording issues, so much so that it is at times unlistenable (not to mention musically inferior). "My Foolish Heart" shares the same problem in regards to the sound although it's not nearly as much as an issue here. Aside from that, this CD is still highly recommended. I don't think I've ever heard these guys swing harder than they do on "Oleo", "The Song is You" and "Four" in particular (although the version of "I love You" from the "Out of Towners" CD is also just as amazing). Also, "Only the Lonely" is gorgeous. On a level with Sinatra's version.
Again, try to ignore the negative reviews here. They are written by people who are either deaf, or just ignorant (and that includes their mothers). It's like Ive always said,- "that's the problem with an opinion, anyone can have one"
Free Music Review: Look ma--both hands!
Hit: 4 Stars
Much of the fuss about this album seems to concern Jarrett's revisiting of stride style on three numbers. Jarrett has never had a reputation as an underachiever, and no doubt he wishes to prove a point--not about stride piano (which as played by James P. Johnson, Fats Waller, Earl Hines, Art Tatum and Oscar Peterson is the most technically challenging idiom for jazz piano improvisation), but about his own eligibility to be considered on the same level as a select group of players. In the hands of the masters, the style requires two hands that can think independently, a left hand no less inventive and dexterous than the right, a left-handed finger stretch that can play and "walk" tenths at a brisk pace, an inerrant sense of placement while leaping two or more octaves for every other beat on tunes frequently played "allegro" rather than moderato, and the control to make it all cohere as an effortless, seamless whole.
If Jarrett has raised listeners' awareness and appreciation of well-played stride style, he deserves all the credit in the world. If he has impressed listeners with his versatility while simultaneously provoking dissatisfaction with a "dated," "ragtime" style, his accomplishment is less clear. Even though to my ears the pianist doesn't earn many style points for his stride piano playing, to the extent that he's willing to risk this treacherous idiom at all he deserves respect and plaudits. At the very least, he lays to rest the criticisms from some of his peers that he has a weak left hand.
A note on "ragtime": Since the word has been invoked by several reviewers, it should be noted that "ragtime" was primarily a composed "genre" (not style) of music that pre-dated both jazz and American popular song (1890-1905). No doubt Jarrett could handle the compositions of Scott Joplin et. al. if he chose to, but that's not what you're hearing on this recording. As for those who express displeasure about the pianist's continued attraction to the Sinatra repertory (i.e. the Great American Songbook), it's good to be reminded that Jarrett went there when, after the Koln Concert, he was being hailed as the father of "New Age" music and the school of George Winston, Yanni, Brickman, Tesh, etc. Just as he felt it was important then to make a point about structural integrity and the tradition, it's likely that some of the same motivation is behind his recent exploratory ventures into stride piano territory. One wonders, however, if he's aware that even Winston frequently includes in his concerts some Waller pieces played in stride style, in which case Keith might be influenced to venture down other musical paths. What's next? (Certainly he's heard Erroll Garner's head-spinning "Concert by the Sea.")
Free Music Review: KJ meets jazz roots, classic jazz trio music results
Hit: 4 Stars
This stuff must really come easy for Keith. The pianist known for his improvisations and thematic interludes of solo piano virtuosity in the jazz mode hooks up again with two of the most solid jazz musicians in the business today, and some wonderful takes on classic jazz tunes are digitized for the enjoyment of present and future jazz enthusiasts for years to come. Jarrett fans probably can't live without this recording, as it features some really wonderful playing and the usual complex and exciting solo work that Jarrett has become known for over the years. But having to work within the rhythm box created by DeJohnette and Peacock, KJ is kept more focused than when he plays by himself, and personally, I find the result much more satisfying. I'm also a sucker for standards and show tunes, so I really appreciate their cleverly stylistic renditions of songs like Ain't Misbehavin', You Took Advantage of Me, and Honeysuckle Rose. I can only give this four stars because, as good as Jarrett is, he will always be Keith Jarrett, which means, he will always be making those irritating "chicken-being-stepped-on" noises during his performance. When he's close to the rhythm and melody, it isn't so bad, but sometimes he just screeches, and I find that annoying. That is, however, a minor quibble. I find it hard to believe this didn't even merit a listing in The Penguin Guide to Jazz Recordings: Eighth Edition (Penguin Guide to Jazz Recordings), as I think it is at least as good as the CD in their core collection, The Köln Concert. I would say anybody who is thinking about buying this CD shouldn't hesitate any more. I think the familiar tunes also make this a good choice for non-jazz enthusiasts looking to broaden their music collection.Free Music Review: Wonderfully Swinging
Hit: 4 Stars
This new two-CD set of Jarrett's "standards" trio was recorded at a Montreux Jazz Festival concert in 2001. According to Jarrett, the concert was something special, so special that he wanted to release it on a special occasion. With the 25th anniversary of the formation of the trio nearly here, Jarrett figured it was time for this set to be released commercially. It truly is a wonderfully swinging recording that lovers of piano trio music should be lining up to audition.
What makes this recording extra special is the inclusion of three cuts done in ragtime style, including a couple of Fats Waller classics, "Ain't Misbehavin" and "Honeysuckle Rose." Hearing these three superb musicians rip into ragtime truly is a kick. Who'da thunk it?!
And there is plenty more here to enjoy. DeJohnette seems particularly inspired and energetic, having the time of his life trading back and forth with his two bandmates. Yes, Jarrett produces some groans and yelps, but no, it doesn't bother me in the least. I love every minute of this fine new release, and have been playing it over and over again at home, at work, and in my car. It energizes me in all three settings. Highly recommended...
Free Music Review: Another Fine Live Recording of a Great Trio
Hit: 4 Stars
Although Jarrett's liner notes indicate that this performance took place under somewhat difficult circumstances (technical problems, excessive heat, and an audience that didn't seem fully engaged until well into the concert), one wouldn't have guessed it from the recording; the music sounds great from the opening number, and from the second track on all three musicians are very near the top of their game. The result is an album that ranks with the best this excellent group has released, and the extensive and varied selection of tunes provides a nice overview of many of the trio's strengths. (The notable exception is that this album doesn't include a fully improvised piece, like the title tracks on "The Cure" and "Up for It.") Those who are already admirers of the "standards trio" will definitely find this a worthwhile purchase, and for fans of mainstream jazz who are not yet familiar with the group (assuming there are any!), this would be an ideal place to start.