Hear!

A dedicated blog for contemporary jazz music

[treat-your-ears]

JS Bach: Six Sonatas for Violin and Piano

Johann Sebastian Bach: Six Sonatas for Violin and Piano

Recorded November 2010 at American Academy of Arts and Letters, New York, USA

ECM Records (2013)

Musicians:

Michelle Makarski – violin

Keith Jarrett – piano 

Track List:

JS Bach 6 Sonatas for Violin and Piano BWV 1014-1019

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Carl Philipp Emanuel Bach, the fifth child of the great Johann Sebastian Bach, declared that BWV 1014-1019 pieces are “among the best works of my dear father”. Considering the sheer quality of Bach’s compositions, that statement (albeit a little subjective) may propel BWV 1014-1019 among the absolute finest that deserve more appreciation.

These pieces were designed with violin and harpsichord in minds. However, in this yet another stellar production from ECM records, the listeners are presented with a slight twist: a modern-sounding Steinway piano instead harpsichord. Keith Jarrett might as well flipped a coin to decide which instrument to approach these pieces, considering his unparalleled expertise in both piano and harpsichord (the latter instrument was played by Mr. Jarrett in some of his earlier Bach’s recordings). But for this release, Mr. Jarrett decides the piano is the best to equip himself to accompany the excellent Michelle Makarski on violin.

In this album, Mr. Jarrett shows his sensitivity as an accomplished classical pianist. His playing texture is as clear as crystal, a precise tempo in every movement, and well-articulated. These qualities go perfectly with Ms. Makarski’s stylish flourish in every note, sweetness of melody, and crisp articulation. Together, they are not only fulfilling the respect these pieces deserve, but also breathe a new life to it. 

The opening of the first sonata may sound elaborated in first listening, but as the listeners stop by to examine every second that passes, it sounds more and more complete. The quicker movements of the first sonata are something to die for, or to live by. The sheer energy, total commitment from both musicians to immerse, and technically outstanding presented are the reasons for that. 

The second sonata sounds a little bit more balanced, in terms of the height and the depth of emotions (NOT the level of playing, as it is outstandingly high throughout). As if this piece is a monument, the architect was Bach and the final flourish is provided by both Ms. Makarski and Mr. Jarrett. 

The third sonata ends the first disc, but it feels like the listeners have just begin their journey they have started a long time ago. The final movement of the sonata, is like the trigger of the biochemical pathway that keeps releasing endorphin. The aura becomes more energetic, full of happiness, and gratefulness. 

The journey continues, nevertheless, with the fourth and fifth sonata. After listening to these particular sonatas, somehow I think of them as if a double helix. Mr. Jarrett, in one strand, gives a solid support with his exquisite playing. This complements Ms. Makarski’s gorgeous execution in the violin in another strand. Every string that is being bowed breathes new energy, delivers new information and meaning to life. This particular bond strength is not only obvious in the more rapid pieces, but instead it can be felt more intently in slower pieces (especially the first movement in the fourth sonata). Heartbreakingly beautiful. Gone is the assumption that the slower pieces act only as ‘fillers’. No, these ‘fillers’ instead are the ones that fill us with greater meaning.

The sixth sonata is the culmination of all the pieces. The energetic opener sets the right tone of excitement. The third movement of sixth sonata, the listeners are being treated by Mr. Jarrett’s solo performance. However, this is not the solo in his term, it is just a powerful and respectful rendition for Bach’s vivacious composition. The dramatic flourish of the very final movement (especially the very first note of this movement) is just the fitting end of this glorious album. Everything, every note, and every sound are in their right places.

There is no gimmick, no prior knowledge needed, no background story, nothing. What listeners need are just a pair of understanding ears. Bach music speaks for itself. The ‘words’ (or rather the ‘notes’) get more profound when the players are as technically exquisite and sensitive as Mr. Jarrett and Ms. Makarski. The music sound gets even clearer when the recording quality is as clear as ECM’s usual high standard. Simply, an art form in its highest purity.

[treat-your-ears]

e.s.t Live in London

"e.s.t Live in London" by Esbjörn Svensson Trio

Recorded live at Barbican Centre, London on May 20th, 2005

ACT Records (2018)

Musicians:

Esbjörn Svensson -- piano

Dan Berglund -- bass

Magnus Öström -- drums

Track list:

CD 1: 1. Tide of Trepidation / 2. Eight-eight Days in My Veins / 3. Viaticum / 4. Mingle in the Mincing-Machine / 5. In the Tail of Her Eyes / 6. The Unstable Table & Infamous Fable

CD 2: 1. When God Created the Coffeebreak / 2. Behind the Yashmak / 3. Believe, Beleft, Below / 4. Spunky Sprawl * * * For me, there are two 'what might have beens' in the world of modern jazz. First, what might have been if Jaco Pastorius did not develop his antic, did not get killed in a mad pub brawl in 1987, and stayed on course to live his self-proclaimed status as 'the greatest bass player in the world' (he said that when approacing Jösef Zawinul prior joining to Weather Report).  We lost one true pioneer in the world of music (not exclusively about jazz) where re-invented the bass as melodic instrument instead of rhythmic one. 

Second 'what might have been' would be what happened if Esbjörn Svensson did not suffer shocking scuba diving accident back in Stockholm in 2008? He, and his trio of E.S.T (Esbjörn Svensson Trio) took the world by storm by combining a traditional piano jazz trio setting with original compositions that bend the definitions of genre of jazz and rock with exquisite technique honed by classical training. We were still left with some of his recording outputs, but the loss was beyond unfulfilled.

In trying to fill that irreparable gap, the ACT records label has just released a live album that captured E.S.T in their pomp, recorded while they performed in a sold-out concert at the Barbican Centre London in 2005. The output is a stunning documentation about their musicianship, obviously recorded without any studio trickery. While listening, it brings a great deal of joy for me. After listening, it brings another strong feeling about 'what might have been' if Mr Svensson were still alive today. 

E.S.T were unfairly criticised by so-called 'jazz purists' because they successfully incorporate some of the electric rock elements into their music. Sometimes, when one completely oblivious about what he is listening, some parts of E.S.T can really sound like Radiohead. Perhaps, that is one reason to explain their success to bring together jazz enthusiasts with younger generation that is more used to rock sound. Almost definitely, that is the reason why they routinely sold out concerts all over the world. We could argue about what is jazz and not, but the element of great jazz is there: improvisational freedom.

However, the first three tracks of the album completely disregard the 'electronica' part of E.S.T. In fact, they captured E.S.T as purely acoustic trio in absolute finest. They played with such confidence and freedom. How could you describe their confidence, when their opening tune was a song that was a solemn ballad like Tide of Trepidation? Only the finest acts in the business were confident enough to do so, as most would start with 'uplifting' tunes to get the crowd going. Mr Svensson was in a glorious form, every note was so concise and clear. To be fair, he largely eschewed the electronic part in his career, also in this album. His solo part exploration sounded pastoral-like and technically exquisite, particularly the bridge between the first song and the next, Eighty-Eight Days in My Veins. Forgive the comparison, but it is a compliment, because I thought I was hearing Keith Jarrett like in his album of Tribute.

The electronic part of E.S.T was largely done by the excellent bassist in Dan Berglund. First and foremost, we need to acknowledge that Mr Berglund is an excellent acoustic bass player and another important brain in this triumvirate. The proof for the first statement can be comprehensively listened in the second track. An absolute gorgeous track, where Mr Svensson's left-hand playes Bach-inspired ostinato and his right-hand sings jazz improvisation. Listen to Mr Berglund, as he studiously mirrors Mr Svensson's left-hand with his bass. At the same time, he is also being a great rhymic partner to Magnus Öström, who controls the flame with precise and energetic drum work. The trio then turns into another ballad, Viaticum, where the Mr Svensson's melody is covered by atmospheric-like playing by Mr Berglund and Mr. Öström.

The first three songs sound like three beautiful birds being caged. The chains are then off, spectacularly, as soon as Mr Svensson's stomping piano is being followed by a charging bass of Mr Berglund. This is a sort of example where E.S.T is so good at marrying jazz and rock elements, because they are so reverent to each of the genre's roots. The solo of Mr Berglund is electric, supported by Mr Svensson's glorious ostinato and Mr Öström's rhythmic precision. 

Each of the track in this album brings energy and reason why E.S.T are one of the greats in their generation. Another highlight in this concert would be When God Created the Coffeebreak. Mr Svensson's piano work is stunning, where essentially, he plays two different melodies at the same time. His left hand performs repeated yet complex movement while his right hand delivers entirely different passage of melody. However, the joy does not stop there: wait until his solo improvisation part where he executes some serious chops that are clearly elaborated. Another stamp on genius: he does not regurgitate chords (I imagine the circumstance where if he does that, it would be forgivable due to the electric atmosphere his band creates), instead he is still being articulate in each note of his improvisation. I did say it and I will say it again: Mr Svensson really is one of the greatest piano players in the history. This song is a solid proof.

Behind the Yashmak is another epic movement, can only be done by E.S.T's creative mind. First quarter of the song presents us with the players solemnly explored the 'hidden' sound within the instruments before coalescing into a beautiful passage of melody. The piece is then resolved in such glory. It is perhaps the best way to end any of their concert. However, the next two 'encores' are so exciting, especially the very last which is Spunky Sprawl where Mr Svensson shows of (as if another proof is needed) his deep root of jazz style. The solo sounds so bluesy, brilliantly supported with his trio that matches his genius. 

As a listener, I am extremely thankful to be able to enjoy that glorious night in London through this album. These records perfectly capture E.S.T's high energy and excellent musicianship. Here's me hoping ACT records will release some of their other hidden gems soon. This album is a must-listen.

[treat-your-ears]

Blue Maqams

"Blue Maqams" by Anouar Brahem

Recorded at Avatar Studios, New York on May 2017

ECM Records (2017)

Musicians:

Anouar Brahem -- oud

Dave Holland -- acoustic double-bass

Jack DeJohnette -- drums

Django Bates -- acoustic piano

Track List:

1. Opening Day / 2. La Nuit / 3. Blue Maqams / 4. Bahia / 5. La Passante / 6. Bom Dia Rio / 7. Persepolis' Mirage / 8. The Recovered Road to Al-Sham / 9. Unexpected Outcome

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* This is an album that exemplifies what ECM Records is all about: exploration of jazz, spirit of collaboration, excellent compositions with rooms for improvisation, unique sound, glorious album cover, and pristine recording quality. It is so good that if someone asks about ECM Records, one can simply pick this album and indulge every second of it.

We can start dissecting the album by knowing the background of the players. Anouar Brahem is a respected maestro of oud (Tunisian string instrument) which in turn has revered the jazz heritage. The beauty of Mr Brahem is that he never cheaply jumps to an over-used 'world music' genre. He may play a very traditional and exotic instrument, but his music is always jazz with a tinge of Arabic musical notation. Prior to the making of this album, he wanted to forge a quartet. The choice for the bassist and drummer was quite straight-forward in the form of two legends Dave Holland and Jack DeJohnette, respectively. Selecting the pianist was tricky, until the well-known ECM owner/producer Manfred Eicher put forward the name of English pianist Django Bates.

The resulting music is beautiful. Mr Brahem's composition is generally profound, yet we can find a deeper meaning with a super band like this. Ocassionally, the short duets between Mr Brahem and each of his band-member was very meaningful. I have never imagined the marriage between oud and piano, two contrasting instruments with vastly different heritage and background, can be so natural (in the track La Nuit). The oud and drum intro in the title-track Blue Maqams is so exciting.

The first few minutes of the opening track, Opening Day, present Mr Brahem in the trio setting with Mr Holland and Mr DeJohnette presents the most solid foundation you can ever hope for in jazz setting. In this moment, listeners can be happy if the rest of the album goes on as a trio format. However, when Mr Bates' trickling piano enters the scene, listeners immediately can appreciate that the unit becomes even more intimate. The band complements each other, giving room for improvisation, and yet in every corner of the note we can still appreciate Mr Brahem's compositions.

The highest point of the album can perhaps be heard in the Bom Dia Rio. It is gloriously executed from start to finish. The start is Mr Brahem's solemn solo intro with the oud, which then enters Mr Holland's precise and melodic bass lines to preclude the entrance of other band members. The whole band just enjoys this moment, plucking every note from the tree of music. The composition is both tight and free simultaneously.

Mr Brahem's composition, his playing, and the solid band members rightly get the credits. Mr Holland is in imperious form, receptively providing foundation for other band members. Mr DeJohnette is a master in this art, in which he brings subtletly and sensitivity. I cannot imagine any other drummer in this world which is able to fill the role in this album other than Mr DeJohnette. For Mr Bates, it is a delightful wildcard, with his pianism is that is so elegant and reserved. Although the album credits only with four musicians, I wish to acknowledge another member of the band: Manfred Eicher, the producer. He is the man with the ears, which arguably the most important instrument in this business. Mr Brahem himself thanks Mr Eicher for encouraging the music to speak for itself, without too much control or takes.

Blue Maqams is one of the greatest albums that I have ever listened to, and the best recording in the past year.

[treat-your-ears]

Mozart’s Piano Concertos II

Mozart Piano Concertos K.271, 453, 466 Adagio and Fugue K 546

Keith Jarrett - piano

Dennis Russell Davies - conductor

Stuttgarter Kammerorchester

ECM Records (1999)

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A couple of days ago, I read an interesting article published on NeuroImage, in which the authors (Roberto Bianco et al) explored the difference in the brain activity of classical and jazz pianists. I remembered Keith Jarrett straight away, as one of the very few world-class piano players who master both genres. Curiously, in one interview where the interviewer suggested to Jarrett to play both jazz and classical in the same concert, Jarrett immediately disagreed: "it would be hilarious... it's like a chosen practically impossible... your system demands different circuitry for either of those two things." He's right. Even as a listener, one needs to mindfully 'switch' his/her perception while changing these two different great sounds.

This brings me to a realisation that I have hardly written about Jarrett's classical work. There are two reasons for it. First, I am not as knowledgeable in classical music compared to jazz. In fact, my practical knowledge is perhaps close to zero. Second, there's an intermittent fear that my writing would not be even close to do justice to his classical works. However, I think the time is now for me to review one of my favourite albums.

In this documentation, Jarrett with the great help of conductor Dennis Russell Davies at the Stuttgart Chamber Orchestra explored and reimagined some of the Wolfgang Amadeus Mozart's glorious piano concertos. Mozart, perhaps one of the household names when you mention classical music, was prolific composer (a staggering 600-odd compositions) with great flair for cinematic, dramatic, epic, and technically-exquisite pieces. Some pianists chose to accentuate these qualities when they reinterpret Mozart's piano concertos. Jarrett, I dare to say, took it to another level. Simply because of his respect to the classical roots, understanding of the theatrical trait that is inherent in the pieces, and of course his exquisite technique.

In the Concerto for Piano and Orchestra No. 20 in D Minor K.466 (1785), the piece gives such a 'monochromatic' feeling. Everything was placed in order, in the perfect geometry, which gives the road that leads to Jarrett's commanding piano performance. Expect nothing like Jarrett's free-styling like in his solo improvisation album. But expect a serious and respectful Jarrett, as if every inch of his fingers has one purpose and one only: building the gregorious classical castle. The Allegro dark castle then builds to a slower Romance movement. What an entrance that was, in which a possibly the most beautiful sound ever recorded from Jarrett's piano. It is like the definition of purity, which only elevates the beauty. It is quite humbling after realising that is because of combination from Mozart's stroke-of-composition and Jarrett's masterful playing. The sombre piece then closes in the next movement of Allegro Assai, another superb take.

In the Concerto for Piano and Orchestra No. 20 in G Major K.453 (1784), we are like living in constantly joyful world. Every note in the Allegro movement jumps in excitement and happiness, trickling into the delta of joy. The interaction between Jarrett with Russell Davies is more and more apparent with the passing note. The Andante movement is tinged with more reflective mood, more intertwined, but without forgetting that each of it flows with joyfulness. The flow and the smell of the joyfulness is more real when we step into the Allegretto movement. A stunning piece, overall.

In the Concerto for Piano and Orchestra No. 9 in E-flat Major K.271 "Jeunehomme" (1777), we stepped back earlier in time. Witnessing this piece, which was penned by Mozart when he was just 21 years old, the piece is so picturesque and brimming with confidence. The piano trickle that Jarrett executed, is like a joyful bird that dives not for the kill but just for the thrill. In the Allegro movement, exchange between the string section and piano is so colourful. The Andatino brings back one step so we can more mindfully breathes whatever the sonic air to offer. The final flourish, the delightful final movement is so exciting, neatly phrased, and brilliantly concluded.  

Everything in this album so pleasant. Let's start with the man himself, Keith Jarrett. His performance is so effortlessly euphonius, which makes you appreciative for every bit of the piano that he presses. The respect he gives for the Mozart's pieces is clear. Despite some may say he should have taken it to a more dramatic flourish, I believe he executes every note expertly. Next, the quality of the recording from the ECM is really second to none. The piano and the orchestra are so balanced, so they complement each other nicely.

There is only one outcome when Mozart's glorious piano concertos, Jarrett's imperious piano technique, Dennis Russell Davies' masterful conducting, and ECM's wondrous recording: beautiful music.

[treat-your-ears]

An evening with Pat Metheny at Barbican, London

An evening with Pat Metheny at Barbican, London

25th EGF London Jazz Festival

10th November 2017

Pat Metheny - guitars

Antonio Sanchez - drums

Gwilym Simcock - piano

Linda Mayan-Oh - bass

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As he firmly places his fingers on that mutant species, that is a 42-string Pikasso acoustic guitar, the whole audience at the Barbican Hall is gripped in excitement and awe. Metheny then expertly and carefully plucks the strings that resonate profoundly in the hearts, especially when he strums the upper-register of the guitar. The title of the song is Into the Dream, but I suppose everyone in the hall is already inside the dream.

Metheny is supported by a young and talented cast: British pianist Gwilym Simcock, Malaysian-born bassist Linda Mayan-Oh, and the excellent Mexican drummer Antonio Sanchez. With this band, Metheny has the perfect personnels to revisit, reinterpret, and recharge his old tunes. Apart from being one of the world's best guitarist, he is also one of the most prolific composers spanning 40-year career.

Immediately after the Pikasso guitar improvisation, he begins with a Paul Klee's painting-inspired So May it Secretly Begin, where the sweetness of the melody may make the tune to be retitled as honey. The excursion then goes back 40 years back, as he revisits his very first title-track of Bright Size Life. The composition may be old, but the song is as fresh as the recently-born organism. It breathes life, enthusiasm, and excitement. Just like its creator.

When one has catalogue of compositions as diverse as Metheny, the possibility is almost endless. On top of that, Metheny himself is a distinguished improvisationalist. He can take the folsky route as evident on his Better Days Ahead (with a delightful solo from Simcock), the expressionism of The Red One, straight-ahead jazz such as What Do You Want and Lone Jack (with extra fire from fiery Antonio Sanchez), delicate balladry of Unity Village and The Bat. Perhaps, the most heartwrenching moment is when he delivers a stunningly beautiful Farmer Trust and masterpiece of Tell Her You Saw Me. Each note is simple, but that exactly where the beauty lies. The simplicity of it, accompanied by the pausing to ensure every note diffuse into every corner of the heart and solemn improvisation to resonate the feeling even more. Gorgeous.  

As the listeners are lulled into nostalgic mood, Metheny then picks another his mutant specimen of acoustic fretless guitar and abruptly sends shockwaves through the room. Gone is the 'nostalgia band'. Metheny reminds everyone "I am not just a nice guy here. I am an artist that keeps pushing the boundaries". He almost literally shreds that fretless guitar into avant-garde slash abstract form of music while Sanchez expertly runs together with Metheny with his expansive and staggering piece of drumming. Shock and awe. Another reminder of why Metheny is so revered because he can crosses music 'genres' with ease, because he only plays meaningful music.

The treat continues as Metheny does a duet with each of his band members. First, he teams up with the bassist Linda Oh to deliver a stunning ballad Change of Heart, which earned him the Grammy Award in 1990. The intimacy is so deep everytime Metheny strums his lightly-pitched guitar and Linda Oh's deep bass exploration. Next, Simcock joins Metheny to present a classic Phase Dance. The chain of melody keeps growing, especially when Simcock complements Metheny's glorious lyricism. To end the section, the monstrous duet of Metheny - Sanchez dissects every bit of Question and Answer, where Metheny switches to synthesizer guitar to 'answer' his own question with emphatic response.

The first encore that he delivers is a beautiful solo-guitar medley that covers a range of songs, including First Circle, Minuano, Last Train Home, and This is Not America. The crowd can feel his reflection as he plucks the part of This is Not America so solemnly and carefully. As if, Metheny quietly says through the language of music that what is currently happening in his homecountry, is not America. The final encore, after rapturous standing ovation, is his stupendous Song for Bilbao, with a sweet portion of improvisation for each of the musician.

In this ever-changing world, Metheny provides reassuring constants: his genius, curiosity, and infectious passion for music. It is an incredible blessing to be able to savour his talent. This is my sixth Metheny's gig, and perhaps it is the most impressive one so far.

(Picture is courtesy of John Watson from jazzcamera.co.uk) 

[treat-your-ears]

Joshua Redman Trio at Ronnie Scott’s London

Joshua Redman Trio Live at Ronnie Scott’s London, 31st October 2017

The precise, confident, and intelligent aura crystallised into one exact moment as Joshua Redman and his trio began with the very first note from old classic from Oscar Hammerstain and Richard Rodgers: The Surrey with Fringe on Top. Everything in that intimate place of Ronnie Scott’s fell like dominos, giving a satisfying reminder on why everyone there falls in love in jazz. Precisely, because moments like that.

As Redman expertly delved into his highly technical and detailed solo, the stage was set. The home was there, and there was no need to be looking somewhere else. Occasionally, the excellent Reuben Rogers in bass exclaimed in ecstasy. It made me wonder: me sitting just few metres away from the stage was already blown away. Let alone being there, being one with the music.

Redman mixed the concert with equal weightage of standard tunes and originals. The next in list was his old Back from Burma. The technicality and interplay between the musicians here was outrageous. As Redman explored high and low using his beloved tenor sax, the excellent Gregory Hutchinson on drums showed the polyrhythmic exploration is his part. 

The interplay was even more exciting when they tackled another old standard, East of the Sun (West of the Moon). Redman, as always throughout the night, had the right balance between technicality of intellectual and expression of street artist. At the end of the song, his ‘conversation’ with Hutchinson was a language to be treasured.

Redman turned into a pastoral lyricist, as he performed one of his favourite ballads, Never Let Me Go. Every note crystallised into soft loving breath, which asked the audience to never let go. Ironically, jazz is about letting go. It’s about letting in and letting go, receptive to the present moment.

Perhaps, the most lasting memory from the concert was his old tune Chill (from the excellent album Moodswing). The quartet set-up that was heard in the studio album metamorphosed into a more compact form, becoming a vehicle for these three guys to chill and explore. As they twisted and turned, the very last note was so profound, accentuated with the pause before hand (as the composition demanded it). I swear, the concert could end there and it would be the fitting end.

The audience, rightly, asked for more and more encore. Redman finished it with such a beauty encore which for the sake of my life I could not remember the title. But, who cares? Redman could play the whole concerts without known set list, and the lucky audiences would still be blown away. A huge testament to his sheer quality of musicianship. 

[treat-your-ears]

Shift

"Shift" by Logan Richardson

Recorded at Sear Sound Recording Studios, New York, on December 4th - 5th, 2013

Blue Note Records (2016)

Musicians:

Logan Richardson -- alto saxophone

Pat Metheny -- guitars

Jason Moran -- piano and Fender Rhodes

Harish Raghavan -- bass

Nasheet Waits -- drums

Track List:

1. Mind Free / 2. Creeper / 3. In Your Next Life / 4. Locked Out of Heaven / 5. Slow / 6. When I Wake / 7. Imagine / 8. Alone / 9. In Between / 10. Time / 11. Untitled

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The regret is not to discover this album sooner. Logan Richardson produces a stunning album in Shift, where he leads a magnificent band that includes legendary guitarist Pat Metheny, pianist Jason Moran, and up-and-coming rhythm pairings in Harish Raghavan (bass) and Nasheet Waits (drums). Despite the big names on the paper, Richardson is clearly unfazed. He composes and arranges beautifully, but more importantly he delivers a meaningful and stunning alto saxophone performance.

No one in this album sounds like a 'guest star', even for Metheny who rarely appears a sideman in other musicians' projects. The whole band is expansive enough, but at times is wondrously thightly-knitted to amplify Richardson's song-writing. That is already evident from the opening track of Mind Free. The atmospheric intro is delivered beautifully by Metheny and Moran with calculated drumming by Waits. The entrance of Richardson is almost subliminal, as we only fully realised it when the two melodical rivers of Metheny and Richardson meandered into the first solo. While each of the soloists takes off freely into the improvisational sky, somehow there is one to keep us rooted to the snippets from the opening melody. The best example is during Metheny's soaring solo, Richardson's gently gravitates the solo towards the song. These little details are becoming more obvious after repeated listening, which automatically grows into our minds. The first song is divine.

The sweeping, rhapsodic strength of Richardson's composition is again evident in the next tune of Creeper. There is no need of fixed rhythm pattern, as the drummer Nasheet Waits keeps modulating the tempo. Despite this, we can clearly follow the leads from Richardson's alto saxophone which brings us to his staggered solo. Metheny takes up the baton afterwards with 'wailing' synthesizer guitar, a trademark of his. The song is concluded with a nuance experimentation of Fender Rhodes by Jason Moran, paired with Richardson's repeated rooting to the song.

The scope of Richardson's talent for song-writing is not only to tightly-knitted as mentioned above. He showcases the delicate touch through the ballad of Alone. The melody offers plenty of rooms to pause for reflection. Richardson tells a beautiful story through his alto, complemented nicely with a rare appearance of Metheny's semi-electric guitar. The last song in the album, Untitled, offers a nicely constructed platform for Richardson's nice solo and then for Metheny to expertly shred his synthesizer guitar. Other than that, he also deconstructs popular song from Bruno Mars, Locked Out of Heaven into pure abstract art form.

The natural peak of this album is perhaps Slow. It is a gorgeous composition that belies his experience and speaks volumes of his supreme talent. Jason Moran begins the song with tolling chords, before Richardson and Metheny combine for a complex elliptical melody. The rhythm section is carefully threading the balance of abandon and restraint. The melody then converges into Richardson's georgeous sorrowful solo that peaks in rapid scatter. Metheny's is entirely different preposition. He twists, turns, then accentuates an arched epic solo. The moment that struck me the most from his solo is at 5:08 to 5:13. It is something that I cannot describe truthfully, but that sequence wrenches your feeling from the deepest point to the stratospheric ecstasy so tragically. Such gift that is Pat Metheny. The song then concludes as Moran's brief conversation with the rhythm sections brings the song to the completely unexpected arrival point. It is a sublime piece of art.

Logan Richardson announces himself as one of the brightest up-and-coming jazz talents with this album. It takes a character to lead such a band like this, where sometimes Metheny does feel like the bandleader instead of sideman. However, Richardson wisefully let his sound does the most talking. For that, this album can be considered as the one of the best jazz recordings in the past few years.

The stunning song of “Slow” can be heard here:

https://www.youtube.com/watch?v=gftN8IQpp0k

[treat-your-ears]

Trios Live

"Trios Live" by Joshua Redman Trio

Recorded live in concerts at Jazz Standard, NY in 2009 and Blues Alley, Washington D.C in 2013

Nonesuch Records (2014)

Musicians:

Joshua Redman -- tenor and soprano saxophones

Gregory Hutchinson -- drums

Matt Penman -- acoustic bass (track 1, 5-7)

Reuben Rogers -- acoustic bass (track 2-4)

Track List:

1. Moritat (Mack the Knife) / 2. Never Let Me Go / 3. Soul Dance / 4. Act Natural / 5. Mantra #5 / 6. Trinkle, Tinkle / 7. The Ocean

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As a jazz fan, I am always interested with (and perhaps unfairly judging every jazz musician in) the performance of trio setting. There is a different aura with a trio performance: just one melodic instrument supported with rhythm sections consisting of only acoustic bass and drums. It is pure simple expression of art, but very tricky to get right. It requires the right amount of technique, improvisation skill, and interactions between the band members. Get these ingredients mixed well, and the possibilities are endless. Only great musicians can tackle this 'trio challenge'.

Speaking of a trio performance, it's always a blast to experience Joshua Redman Trio in a live setting. I had a great luxury to witness his trio back at Gateshead Jazz Festival 2014 in Newcastle and it was one of the most fun nights for me as a jazz connosieur. He interacted very closely with the audiences, both with his straight-talk and improvisations together with his band members. Right from the very first note, I knew it was an absolute belter.

Therefore, it is a gift to have a CD like Trios Live to document the essence of Joshua Redman Trio live performance. Like I described earlier, it is a blast. Redman twisted and turned, showcasing his great skill in saxophones, and expertly interacting with his fellow players and (importantly) with the audiences.

The CD opener, Moritat (Mack the Knife) gets listener into the mood right away. His intro is concise which then follows to the tributaries of the song. Penman and excellent Hutchinson knit together the body of the improvisation -- in which Redman danced on the floor of melody. The song gets you moving which you would always expect from Redman's setting.

Every track is so energetic, even when he tackled a beautiful ballad Never Let Me Go. He skillfully thread a careful balance of ballad story-telling with his saxophone, engaging with the audiences, and exchanged lovely improvisations with his trio members.

The peak of the album may be the Act Natural tune. A pure gem and real burner, in which the three musicians explored every inch of the note with great abandon. The song expands, turns, and presents an extraordinary opportunity for the listeners to pick the right moment to put a meaning on it. From the first bar of this song, we know we are in treat for pure, straight-jazz exploration.

Aptly, Redman closed this set with a fiery encounter interpretatiton of Led Zeppelin's classic, The Ocean. He navigates the tunes expertly to radiate the spirit of party, as if dispelling the backward-looking statement of 'you cannot have fun party with jazz'. Turn this tune in and let Redman guides you in the ocean of free improvisation. An absolute pleasure to listen to.

I read a comment from Amazon's reviewer that this tune needs careful and repeated listening to enjoy it. I am not sure about this. If you love jazz, the very first note will immediately get you moving. This is the album to enjoy jazz with abandon -- and it's not a necessarily bad thing, with hands like Joshua Redman and his trio.

[treat-your-ears]

Nearness

"Nearness" by Joshua Redman and Brad Mehldau

Recorded live at various concerts in Europe in 2011

Nonesuch Records (2016)

Musicians:

Joshua Redman -- tenor and soprano saxophone

Brad Mehldau -- acoustic piano

Track list:

1. Ornithology / 2. Always August / 3. In Walked Bud / 4. Mehlscancholy Mode / 5. The Nearness of You / 6. Old West

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To have a deeply meaningful instrumental duet albums, the musicians involved need to balance their sonic intimacy and expansiveness. The music needs to feel 'close' enough, so it does not feel too loud. On the other hands, it needs to explore the music enough to keep the the attention of the listeners. Several duet albums favourite of mine, which I think tick the boxes, are Undercurrent (Bill Evans and Jim Hall), Beyond the Missouri Sky (Pat Metheny and Charlie Haden), Crystal Silence (Gary Burton and Chick Corea), and Jasmine (Keith Jarrett and Charlie Haden).

The album Nearness excites me for this reason: can Joshua Redman and Brad Mehldau (fantastic jazz players at their own rights) capture this essence of duet performance? After listening to a few notes of this album, the answer is a resounding yes. To put it shortly, Nearness is triumphant. 

Redman and Mehldau have collaborated many times in the past, most famously in the Joshua Redman Quartet setting. However, their duet shows have not been unearthed until recently. Which begs a question why was it not released earlier? Nevertheless, we are now lucky to be able to enjoy this pleasure in a form of a recording. One of a truly great recording in 2016.

Their improvisation is intertwined, delicately sown by understanding of when to engage or to let go. The pair, not only know what to play, but also importantly what not to play. The result is that the listeners never feel any wasteful note, too crowded, and not longing other additional instruments.

Redman is expert in making splendorous tunes in both of his saxophones. Often, his improvisation is further primed by Mehldau's glorious harmonic works (as an example in Always August). Mehldau, as I have always described his left hand playing as "controlled chaos", is taking the matter into another higher level. He has matured so much as a player, in which his adventure for both rhythm and melodic improvisation is so enriching. Sometimes jaunty, pastoral, or even solemn. It seems like each of Mehldau's finger has its own fine musical brain.

Perhaps naturally, the album peaks rightly at the tune of The Nearness of You. It is a stunning achievement for both musicians to conjure something like this. This classic Hoagy Carmichael and Ned Washington's composition gets a thorough deconstruction. Each note in the original is examined so carefully and masterfully. The added layers offered by Redman and Mehldau fit well with the original composition. The result is a 17-minute exploration in which crystallises into a stunning sonic jewel.

The only thing we can do while listening to this album is to be grateful. This kind of music is timeless and it is a pleasure to be in the receiving end.

[treat-your-ears]

10 Years Solo Live

“10 Years Solo Live” by Brad Mehldau

Recorded live August 2004 - March 2014 

across the concerts in Bassano del Grappa, Bilbao, Brussels, Budapest, Copenhagen, Eindhoven, Girona, Leipzig, London, Luxembourg, Menton, Paris, Rome, Salzburg, Vevey, Vienna, Wels

Nonesuch Records (2015)

Musician

Brad Mehldau -- acoustic piano

Track List:

CD 1: 1. Dream Brother / 2. Blackbird / 3. Jigsaw Falling into Place / 4. Meditate I - Lord Watch over Me / 5. And I Love Her / 6. My Favorite Things / 7. This Here

CD 2: 1. Smells Like Teen Spirit / 2. Waltz for J.B. / 3. Get Happy / 4. I’m Old Fashioned / 5. Teardrop / 6. Meditation II / 7. Holland / 8. Knives Out

CD 3: 1. Lost Chords / 2. Countdown / 3. On The Street Where You Live / 4. Think of One / 5. Zingaro - Paris / 6. John Boy / 7. Intermezzo in B-Flat Major Op 76: no. 4 / 8. Junk / 9. Los Angeles II / 10. Monk’s Mood / 11. Knives Out

CD 4: 1. Lé Memoire Et La Mer / 2. Hey You / 3. Bittersweet Symphony - Waterloo Sunset / 4. Intermezzo in E minor, Op 119: No. 2 / 5. Interstate Love Song / 6. God Only Knows

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I have always admired Brad Mehldau's unique personality and approach towards piano jazz. He is an enigmatic paradox: an intellect that likes to think every single detail in his playing and writing (very evident on his reflective solo playing and liner notes). At the same time, he is also an undisputed piano master in musical genre that emphasises on free improvisation.

I remember Mehldau's lengthy 'ramble' on the liner notes of "Back at the Vanguard" album, when he begged his listeners not to compare him with old masters like Bill Evans and Keith Jarrett. He was adamant that his music gave fresh breath to jazz that deserved to be enjoyed as itself, not comparing to Evans or Jarrett works. I sympathised with him, up to a certain extent. If I were him, I would love to stop hearing the gross comparisons from the audience or media. I would like people to judge my music by itself, not Evans' ground-breaking work. However, my sympathy stopped there. In any business, it is very difficult to avoid comparison. When you are excellent in football, people will start comparing you to Messi or Ronaldo. When you are superb in the field of Physics, people will start judging you in the bracket of Newton or Hawking. Particularly in the dying field like jazz, where the number of successful masters are not so abundant. As soon as you left great mark in the piano, attentive listeners would unconsciously compare you to other legends. It is partly annoying, but also flattering at the same time.

Back to the enigmatic paradox that is Brad Mehldau, he has left a great legacy in the piano. After a series of disappointing trio records, namely Ode and Where Do You Start, I felt like losing touch with Mehldau's charisma and ability. Firstly, how did you manage to turn exciting trio line-up (Larry Grenadier on bass and Jeff Ballard on drums) into underwhelming recordings? Yes, such underwhelming recordings are not good enough if you are lauded as masters on the piano. Secondly, I started to wonder whether Mehldau thought too much about his music? All his liner notes and stuff -- trying too hard to guide his listeners. I reasoned: musicians need to just play and let the listeners interpret it, up to a point. Of course it depends on the level of listeners' interest and intelligence, but we leave this argument here first.

When I opened this 4-CD package of 10 Years Solo Live, I was automatically reminded to Jarrett's megabox of excellence Sun Bear Concerts. However, then I stopped comparing right away. It would be unfair for Mehldau to judge his solo performances with Jarrett. In addition, it is different format anyway. Jarrett is completely improvised on the spot. Mehldau has some kind of defined structures and pre-set songs going to the stage.

His liner notes are long and trying to 'guide' the listeners. He even goes deeper by explaining the use of chords while playing certain tunes. However, I followed his advice at the end of the liner notes: "you can just listen it whatever you want". I tossed the liner notes away, forgetting all his 'guidances', and let my ears guide me.

Mehldau wows me. Right in the middle of his first track, Dream Brother, I feel right at home. His playing is purposeful, beautiful constructed, but also leaves ample space for improvisation to take place. As soon as Blackbird is being played, I know I am in the right adventure.

He has his reasons to split this album into four parts, but I believe it is the right amount of partitions. He mixed the songs from performances all around the world, but they seem to be one continuous lovely journey. He has documented his 10-year solo journeys really well. Every note feels like a wonderful distillation of his intelligence and emotion -- poured into the keyboards of a grand piano.

Some of the tracks in the album are real gem: some sorts that you can pluck out of the context from the album, make your own playlist, and yet still hit right in the feels. His cover of Radiohead’s tracks such as Jigsaw Falling into Place or Knives Out are so explorative and rewarding. It is like a snapshot of imaginary conversation taking place in between Radiohead’s genius maverick Thom Yorke and Mehldau. A cult rock meets meditative heavy jazz.

The same can be said when Mehldau plays Teardrop. He delves microscopically to each drop of the tears, examining each minuscule particle to trace back its origin of sadness. The haunting voice of Elizabeth Fraser in the original song feels like a distant memory that links this highly twisting-turning rendition.

From interpreting classic rock, Mehldau turns into classical music from Johannes Brahm. The listeners may then wonder about what genre this actual solo performance is. This kind of assumption misses the point, completely. This solo live is all about Mehldau’s journey as a musician. The moment as his fingertips grace the piano, the discussion about the genre becomes pointless. He is the river that meanders within the island. It may refresh the plot of pure jazz (as he reverently interprets Thelonius Monk’s Countdown). It may fertilise the land of classic rock (as he does with Radiohead’s tunes). It may grace the holy classical pieces. But ultimately, he passes through the whole music. That island, that personality is Brad Mehldau.

Some of media lauded this album in the same bracket as Jarrett's The Köln Concert. I do not want to compare him with Jarrett, especially in the solo playing category. Jarrett is great in his own right. However, I am celebrating the talent that Brad Mehldau presents. And that talent is immensely satisfying to enjoy as the connoisseur of melody.

This album is easily one of his best since his Live in Tokyo.

[treat-your-ears]

Day Trip

’“Day Trip” by Pat Metheny Trio

Recorded on October 19, 2005

Nonesuch Records (2008)

Musicians

Pat Metheny -- acoustic, electric, and synthesizer guitar

Christian McBride -- acoustic and electric bass

Antonio Sanchez -- drums

Track List:

1. Son of Thirteen / 2. At Last You’re Here / 3. Let’s Move / 4. Snova / 5. Calvin’s Keys / 6. Is This America? / 7. When We Were Free / 8. Dreaming Trees / 9. The Red One / 10. Day Trip

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Personally, the ‘best’ and the most pure format to enjoy jazz in its entirety is in the trio setting. Just one melody instrument, one bass, and one drums. It seems  a very simple band line-up, but that is where the beauty lies. When executed with mastery, the possibilities are limitless. There is no hiding, no ‘passenger’ in the band. The main soloist needs to be in top form every time. The rhythm supports needs to be on point all the time. In the history of jazz, we can list endless of legends playing in trio format.

My first ever live jazz performance exposure was the Pat Metheny Trio (with Christian McBride on bass and Antonio Sanchez on drums) when they were playing in Singapore in 2006. It was a magical experience. Every moment was passing with full of purpose. Every single musician gave it all. At one point, I remember Metheny even cut his nails while ‘shredding’ his synthesizer guitar. This brings me back to my earlier point: jazz trio can be the most effective way to captivate your audience. Every note counts. There is no ‘composition’ blanket to cover your weakness. Every moment matters.

Pat Metheny may be well-known for his works with Pat Metheny Group, a multi-musician ensemble, but he is also a force when it comes to trio format. More importantly, he understands the significance of trio in jazz format. Some of his stellar works were done in trio setting: Bright Size Life (his first album as a leader), Rejoicing, Question and Answer and swashbuckling Pat Metheny Trio - Live.

Day Trip is another entourage for Metheny to explore the jazz trio. In this album, he is teaming with such a strong and up-coming players, Christian McBride and Antonio Sanchez. This album is like a junction in which Metheny’s attention-to-detail trait meets the looseness that jazz trio format demanded. More importantly, this album also showcases Metheny’s brilliant composing which is in the same class of his Grammy-winning, heartwarming ballad Change of Heart.

The trip begins with straight-out-the-block playing of Son of Thirteen. Metheny’s solo is purposeful and accentuated, while McBride - Sanchez pairing in the rhythm section proves to be a special treat. Sanchez’s solo is refreshing, not only in this song, but throughout the album. Another proof that Sanchez is one of the best drummers in business.

At Last You’re Here is another road to memory, an exactly 8-minute piece to emphasise Metheny’s masterful and pastoral guitar playing. McBride’s bass solo complements the heartwarming sound even more. This is followed by exciting and powerful Let’s Move, in which Metheny delivers a wonderful verse followed by high-octane solo.

Snova and Calvin’s Keys are laid-back tunes in which we already know that we are in full comfort for the whole day trip. As if we already satisfied with the first-half of the offering, Metheny comes up with such a delicate and breathtakingly beautiful acoustic ballad of Is This America?. This song was dedicated to tragedy of Katrina hurricane and it served the purpose -- elegiac tune where the moment fleets solemnly. Metheny’s acoustic guitar is gorgeous, even more so is McBride’s bowing of the bass. The year after this release, this composition actually won a Grammy for best country composition, owing to its appearance in Charlie Haden’s album Rambling Boy.

Another beautiful ballad of Dreaming Trees, which is sandwiched in between Metheny’s old tracks that got trio treatment. First, When We Were Free (first appeared on album Quartet) is executed with such care and passion before meandering away through a controlled reaction of synthesizer guitar. Next, the funky The Red One gets a superb outing in which the synethesizer guitar is in full control.

The closing track, Day Trip fits the album completely. It shows the cohesiveness of the band -- with each other and also the song material. There is no note out of place. The whole recording and performance are triumphant. 

It may be difficult to point out which album of Metheny is the best. Even more so is which album to give for introducing Metheny to someone else. If you want to meet in the middle ground, especially with a strong appreciation to jazz trio, Day Trip is perhaps the most rock-solid.

[treat-your-ears]

Creation

“Creation” by Keith Jarrett

Recorded April, May, June, and July 2014

in Toronto (Roy Thomson Hall), Tokyo (Kioi Hall and Orchard Hall), Paris (Salle Pleyel), and Rome (Auditorium Parco della Musica) 

ECM Records (2015)

Musician:

Keith Jarrett -- acoustic piano

Track List:

Part I - Part IX

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Sometimes, it is pointless to attempt to describe Keith Jarrett’s solo concerts. I am one of his biggest fans of his work, because I feel that he is extremely brave to embark on such lonely, yet richly rewarding, journey. To sit down with the piano, in front of hundreds of audiences, and play completely improvised pieces is quite miraculously insane.

Jarrett did this solo endeavour -- in parallel with his trio works and other classical projects -- for almost four decades now. It goes without saying that he has released blockbuster of solo albums such as The Koln Concert, Vienna Concert, and Rio. The theme of playing long and spontaneous concert packaged in one CD is becoming a norm. Being grateful is the least we can do after enjoying such high art.

On May 2015, Jarrett celebrated his 70th birthday. As a gift to celebrate such glorious life and career, he released the latest solo project called Creation. This time is rather different -- instead of presenting the whole concert in one album, he picked each memorable piece from different concerts and put it into one continuous arch. 

Jarrett the magician becomes a part-time grape picker. It is a public secret that he is a skilled ‘wine-maker’, who is able to capture the essence of passing moment into devastatingly beautiful spontaneous melody. This time, he picks the grape carefully to make into a different type of ‘wine’.

Who is the better person to pick these improvised pieces than Jarrett himself, right? However, that is the beauty of his playing. He is merely just a player -- or a translator (from moment to melody). He admitted that the pieces ‘pick themselves’, he only decided which one was the first track, Part I which was from concert in Toronto. Somehow, the concerts across the four months developed a common sequence. 

Part I opens in a gorgeous way. Every note seems packed with each other, reluctant to let each other apart, which results in a such intimate yet mysterious prologue. Part II is the perfect continuation of the earlier part, as it radiates a nostalgic outlook. The part develops perfectly from the first note and reaches the probable peak, before going to reflect what the time has brought. It seems too perfect for improvised piece -- but it actually is.

The melodic train continues to press forward with another wonderful conception of Part III. Jarrett carefully grooms every flower, with every note that is passing by, only makes the garden to feel more picturesque and induce ourselves to exhale “Yes, this is our home”. Part IV returns to a darker mood -- a gentle reminder about every storm and every sunshine is a part and parcel of life. 

One of my favourite tehcnique of Jarrett’s can be heard in Part V. I somehow struggle to explain it in a very concise way, but the music brings you endless smile. It is calming, soothing, and also inspiring. Some critics may detest that Jarrett keeps repeating the same technique and chords all over again. I really beg to differ, because it seems that he manages to find different combinations in every piece. I am astonished by gifted Jarrett is in terms of melody making? There is very few persons on this planet who can claim to be in the same league of melodician as Jarrett. Part V (in fact, the whole album) proves my point even further.

Sometimes, Jarrett’s brilliant works are not required to be scrutinised as the whole entity. He can make a very simple moment of making piano sound that somehow lingers stickily in our mind. Part VI, where he plays a higher register of the piano, is certainly memorable. But then again, this part is supreme on its own -- quite simply because the choice of chords here are just beyond unbelievable. I said earlier that Jarrett is the highest order of melodician, but more importantly he also knows which chords to accompany such notes. 

Part VII and VIII capture Jarrett in Rome’s performance. The earlier is really memorable, in a sense that Jarrett throws his trademark rollicking chords. They are hauntingly beautiful, reaches peaks at the right time, and extends the sense of wonder. His grunt is most noticeably here, but not annoying, because it is such a harm to keep such concentrated energy inside. The continuation of Part VIII is quite simply sublime. The right balance of everything -- Jarrett is undoubtedly genius of making musical story out of nothing.

Part IX is the fitting end of the already-memorable journey. Every note is punctuated, as if Jarrett does not want us to miss any experience from here. He ushers us to another gate -- not to say good bye and exit -- but to the opening of journey full of gratitude and inspiration.

With the nature of Jarrett’s hand-picked pieces into one album, quite rightly Creation is one of the most coherent solo pieces produced by him (although it does not mean the rest are jumbled up). The sound quality of the album from ECM is pristine as usual. In fact, for the first-time listener, Creation may be the most helpful entry to explore Jarrett’s universe of improvised music. More importantly, he presents us such impressive moments of sheer joy and excitement. He keeps doing this with his gentle touch on the piano. A superb artist and an even better melody connoisseur. If I was forced to throw a criticism in this album, it is the decision of ECM to leave out the audience’s clapping. I feel it is the inseparable part of Jarrett’s live concerts. But after such grand offering -- who am I to question? The clapping is substituted with such a meditative silence.

At this point I do not feel it is necessary to keep throwing away superlatives for his work. I said it many times before and I will say it again: it is an absolute honour to enjoy the work of supreme genius like Keith Jarrett. 

[treat-your-ears]

Tribute to Ornette

The first time I listened to Ornette Coleman, my reaction was “What the hell is this music?!”

His saxophone sound was completely unorthodox, unstructured. If John Coltrane was the north pole, Ornette was at the complete opposite of south pole. He seemed like he did not give a damn about the band playing around him -- he just focused on creating whirlwind through his saxophone. Chaotic, some might say. Unbearable, majority will say. Jazz in its own is already an anti-mainstream choice (hipster, if you like), and Ornette’s avant-garde preach is an anti-mainstream within anti-mainstream. 

However, with more careful and patient listening, you know that Ornette was someone extremely special. He did not did not care, in fact he cared so much about his surrounding. He was not a dictator to give orders to his sidemen, quite simply he was a democrat who encouraged everyone to express their true (and different) sound. Undoubtedly so, he sounds so distinguished. 

Ornette was an inspiring figure: he dared everyone to explore and to expand the boundaries. In his legacy of music, he invented a unique way of improvising: parallel improvisation. The best example for this can be heard in his collaboration with Pat Metheny: Song X. Most people call it noise, but I call it a true art of beauty. Ornette played his own improvisation at the same time as Metheny. The resulting track was shorter in jazz standard (4-6 minutes?) but it created a long-lasting memory. He is an innovator and pioneer. After he said “There is a law in what I’m playing, but that law is a law that when you get tired of it, you can change it.”, he added violin and trumpet to his arsenal of sound which made everything sound more ‘complicated’.

He was not interested to follow the crowd in jazz: he insisted to create his own genre, which made everyone who listen instantly say “Oh that’s Ornette-like!”. That happened very well, any saxophonists who dared to embark on avant-garde movement will be automatically associated with Ornette.

It is not a bad thing to be linked with Ornette, instead it is such an honour. There are so many compositions that were created as a respect for Ornette, including Jarrett’s “Piece for Ornette”. He is musicians’ favourite musicians: quite simply because Ornette created a very distinctive sound which inspired them to go even further than expected. The list of his fans, who are legends in their own rights are endless: Charlie Haden, Keith Jarrett, Dewey Redman, Joshua Redman, Pat Metheny, Antonio Sanchez, etc.

My favourite composition from Ornette is “Lonely Woman”. A flourish from the first note til the end. He never looked back, neither did he look forward: he enjoyed the present. That is clearly radiated from his music and legendary improvisation.

He once said  “I wasn't so interested in being paid. I wanted to be heard. That's why I'm broke.” Thanks to your courage, the world of art becomes a much richer place. Rest in peace, Ornette. 

[treat-your-ears]

Live at Birdland

“Live at Birdland” by Lee Konitz, Brad Mehldau, Charlie Haden, and Paul Motian

Recorded live on December 2009 at Birdland Jazz Club, New York, US

ECM Records (2011)

Musicians:

Lee Konitz -- alto saxophone

Brad Mehldau -- acoustic piano

Charlie Haden -- acoustic double-bass

Paul Motian -- drums

Track List:

1. Lover Man / 2. Lullaby of a Birdland / 3. Solar / 4. I Fall in Love Too Easily / 5. You Stepped Out of a Dream / 6. Oleo

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From the first track of Live at Birdland, we know we were in for a treat. Three veterans (Lee Konitz, Charlie Haden, and Paul Motian) and one bright new star (Brad Mehldau) in the upper jazz echelon decided to assemble at the legendary Birdland Jazz Club. The wisdom of three above-mentioned musicians radiates through the prism of Mehldau’s clarity: the result is nothing but intimate rendezvous for a stunning performance.

They came up to the stage without any set list and the idea was to play any standard jazz tunes that crossed the mind of the first soloist. And so Lee Konitz began with one of my personal favourites, Lover Man. He whispered the alto as if the wind flows smoothly from mountains to mountains. Mehldau filled the next improvisation slot with a trademark chameleon-like playing, in which he effortlessly inverted to right-hand chord choppers and left-hand melody painter. That was just improvisational technique worthy of a gold medal. The rhythm support? There was never doubt with Charlie Haden and Paul Motian. Haden played with such a strong presence, as if each plucking of bass line was equivalent to grape-picking in a vineyard for making the finest wine. When we thought Konitz, Haden, and Mehldau were enough to blow us away: then listen to Motian’s measured drumming. He was the softest of all -- he brushed his drumset with motherly love. He did not just sustain the song: but he carefully groomed it. All in the first song? Yes, it was that good.

This album was credited with six songs: but still there were plenty of things to be examined. The next on the list, Mehldau started with a classic Lullaby of a Birdland -- maybe he did that on purpose considering the venue. If we could describe this song, this was an immortal cell. From the first solo, Konitz breathed wisdom and consciousness to make this cell alive. Mehldau intelligently stroke the right balance between flying out improvisation and also came back to the nucleus of the song. Haden was immense to make sure everything regulated -- not to mention his short solid solo. Motian with careful drumming acted as a strong cell membrane; but also permeable to any diffusing improvisation melody.

The theme continued with the next four songs, where the groups interpreted jazz standards like Solar, I Fall in Love Too Easily, You Stepped Out of a Dream, and the closing number of Oleo. The intention of being one-off meeting suddenly turned into what-could-have-been-if-they-stayed-longer: because the sheer closeness that these four musicians projected. They sounded like a dream band -- and they were. I would not say this album as a textbook of free-improvisation, but certainly this was a strong demonstration of tightly-knitted improvisation as a group. Just pay attention where Mehldau amplified Konitz’s vocabulary expression solo after solo; or when Haden carefully listened and delivered the right bass-twang. The best example was probably on the last track, Sonny Rollins’ classic of Oleo. The set was momentarily became a duet-showcase between Konitz note picking and Motian’s beautifully-weighed cymbals and snare. I could not imagine the joy being spread at that time. Mehldau and Haden then soon followed with necessary yet meaningful sound. The whole tracks were worthy of a praise, but no doubt Oleo was the jewel of the crown.

Some people may think this album overall has too slow of a tempo -- I beg to differ. This is an example of such polished, matured, and wise performances from four masters. They believed of no rushing of notes -- they treated every sonic expression that came from their instruments like a caterpillar about to become a butterfly. You rushed and it would stay as an ordinary caterpillar. You took your time and sensed around: it would grow a pair of gorgeous wings and became astonishing butterfly ready to take the storming flight.

And butterfly it is. This is a flying journey that represents our love of jazz: technical mastery, beautiful compositions, meaningful improvisations, and cross-generation. Together, these foursome channeled their mastery to create a collective energy and intelligent jazz-language conversation.

[treat-your-ears]

Inside Out

“Inside Out” by Keith Jarrett Trio

Recorded live on 26 & 28 July, 2000 at Royal Festival Hall, London, U.K

ECM Records (2001)

Musicians:

Keith Jarrett -- acoustic piano

Gary Peacock -- acoustic double-bass

Jack DeJohnette -- drums

Track List:

1. From the Body / 2. Inside Out / 3. 341 Free Fade / 4. Riot / 5. When I Fall in Love

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The brilliance of this Keith Jarrett - Gary Peacock - Jack DeJohnette triumvirate needs no long introduction. Since their groundbreaking Standards release in 1983, they have taken the jazz world by storm. Reinterpreting old standard tunes into a whole new level, resulting in more than a dozen of masterclass albums. 

Unfortunately, their effort sometimes get belittled as some people called them ‘Standards Trio’. True, they do play standard jazz songs very frequently, but in the actual fact they just use those compositions as a form of balance in the opposite of their relentless freedom. Jarrett then promised to prove them wrong by playing completely improvised performances. And across two glorious summer nights of year 2000 in London, we had the real taste of this trio can achieve.

Jarrett, Peacock, and DeJohnette graced the stage without any prior set list or preparation. From the first note played by Jarrett, somehow the body work turned into a staggering improvisation entitled From the Body. The fact Jarrett could conjure interesting train of melodies from thin air should not be a major surprise (as exemplified by his solo recordings). But this time, he has two outstanding listeners and players to interact with. Jarrett offered tidbits of sound, in which Peacock and DeJohnette attentively listened and responded. Each of them take turn in the lead: Jarrett with jaunted piano touch, Peacock with twang bass lines, and DeJohnette with sophisticated primitive drumming. Somehow they managed to turn it into song-like structure is just a testament how tightly-knitted and telepathic these three forces are.

The second ‘song’ (if you wish to call it, although at this point there is no point defining the structure of a song) is Inside Out. Again, Jarrett became the conductor in this glorious group of players as his rhythmic friends took a great care and listen. Somehow, the body of work turned into a lullaby where DeJohnette worked his brush magic to complement hymn-like pastoral sound of Jarrett. The trio then digs the roots of the blues -- unbelievable conjecture from seemingly distant galaxy. An outstanding work of art which was closed by well-deserved ovation.

341 Free Fade might as well be re-titled into Peacock Free Fade. He took up the commanding position with a superb and tantalising work of bass string. The listeners can probably feel the smiles forming from his bandmates, as they happily played the supporting roles (although they are far from supporting roles). As it if were a painting, Peacock focuses on the scenic painting with breath-taking detail. While Jarrett draws the skies with solid base chords and DeJohnette dots the oceans with snare works. The provoking title of Riot does not mean noisy anarchistic piece, instead it is another prime example of their glorious creative talents. Jarrett exalted in the lower register of the piano and chirping happily with occasional upper chords, while DeJohnette ends the piece with unmistakable drum and bells improvisation.

The ending of this album is like a short flashback episode to remind the listeners of where this trio started. A heartbreaking rendition of classic When I Fall in Love, executed with flawless sense of melody and delicate techniques. 

I remember hearing in an online radio podcast, where a 20-Grammy-Award winner guitarist Pat Metheny introduced one of the recordings that influenced him. He presented Jarrett’s Facing You and said “I am very privileged to be on the same planet as Jarrett.” Well, after enjoying Jarrett’s impressive catalogue -- including this Inside Out gem -- listeners should share Metheny’s statement.

Inside Out is a demonstration of improvisation at the highest order. These masters show us that free-playing is not about all-out shredding your instruments -- but it’s about careful listening and responding. They are firing all cylinders. It is hard to believe that few years before this recording, Jarrett was suffering from debilitating disease. After bop-soaked release of Whisper Not, he and his trio somehow scale a greater height with this free-improvisational diamond. 

Somehow, the moniker of ‘Standards Trio’ has ceased to describe the band’s habit of playing standard jazz tunes; rather it has become a literal meaning of the musical level they set where others can only dream to match.

[treat-your-ears]

Sleeper

“Sleeper” by Keith Jarrett

Recorded live April 16, 1979 at Nakano Sun Plaza, Tokyo, Japan

ECM Records (2012)

Musicians:

Keith Jarrett -- acoustic piano and percussion

Jan Garbarek -- tenor and soprano saxophones, flute, and percussion

Palle Danielsson -- acoustic double-bass

Jon Christensen -- drums and percussion

Track List:

CD 1: 1. Personal Mountains / 2. Innocence / 3. So Tender

CD 2: 1. Oasis / 2. Chant of the Soil / 3. Prism / 4. New Dance

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Listening to a previously unreleased concert is a time travelling experience: we know what to expect from the musicians involved, but at the same time we are bound to get surprise. 

That was what happened with this enthralling double-disc album, entitled Sleeper. Jazz aficionados are well aware about Keith Jarrett’s majestic career as a piano player: his solo piano endeavour, legendary ‘Standards’ trio (with Gary Peacock and Jack DeJohnette), classical interpretations, and many others. However, while we think we know Jarrett well enough, the release of older archive like Sleeper makes us to discover another landscape of him that elevates our respect for him even further.

Sleeper presents us Jarrett with his established Norwegian friends (colloquially named ‘European Quartet’): Jan Garbarek on reeds, Palle Danielsson on double-bass, and Jon Christensen on drumming works. We did enjoy their offerings previously with albums like Belonging, My Song (FYI: what an absolute gorgeous title track), Nude Ants, and then Personal Mountains. However, this album threw us back in the middle of their Japanese tour in Tokyo (the same tour that brought us Personal Mountains), delivering a fantastic night of contemporary jazz concert -- and we are incredibly blessed that we have that moment in our hands.

From the first minute of the opening track, Personal Mountains, we know that we are in for a delightful trip. Jarrett’s exuberant and solid-rock vamps will surely lift the spirit. With his pal Garbarek on tenor saxophone, together they painted a majestic melodic vista wrapped in a glorious execution. The particular part where Jarrett’s upper register of the piano grabs Garbarek’s saxophone -- as if they dance together in the middle of the storm -- is the purest moment why we love music at all. Jarrett was in inspired form while he delivered the solo, while Garbarek proved that he was a worthy partner. Let’s not forget about the wondrous rhythmic support from Danielsson and Christensen, which made the journey even more picturesque.

After the breath-taking view of personal mountains, we were ushered so smoothly into the next track of Innocence. The band sounds so organic and elemental, as Garbarek breathes silver to his reed instrument. This lead to another superb delicate ballad trick from Jarrett, So Tender.

So Tender was not the only tune that appeared in this concert and then re-played in his maiden recordings with ‘Standards Trio’, the free-flowing yet majestic Prism was also present in the second disc. As a skilled observer, Jarrett carved every discovery carefully which leads to a devastating effect in his listeners: a long-lasting memory. 

Before this American-Norwegian combined white light passed through the prism, we were treated to two extraordinary excursions by this unforgettable group. A wild (interesting nevertheless) ride of Oasis will make us think deeper, but also feel more deeply. The band played around with flutes and percussion, which feels like a friendly conversations among beloved friends and family before converging into a delightful conclusion. 

Chant of the Soil is the humblest of all. The title was apt, as every sonic particle that we heard from this tune served as gentle reminders about our origins: from the soil of the earth. Jarrett’s piano lead the choir while Garbarek polished the raw material through his saxophone. This is a superb and humble composition, worthy of a jazz standard treatment.

The closing statement from this album, New Dance, is captivating in its own right: Jarrett with his trademark rollicking movement based on his left hand, while his right hand captures every passing beauty in the thin air in inexplicable way. Garbarek pitched in with a sweet-sounding saxophone while the rhythm sections cemented such a strong floor for this dance to proceed.

Jarrett insisted that his work with Gary Peacock and Jack DeJohnette, where they re-interpreted old standard tunes with astonishing mastery, is composition at the highest order. Rightly so, because free-improvisations are essentially composing on the spot.

However, those doubters who still demand Jarrett’s own compositions will be proven wrong after listening to this Sleeper documentation. Essentially, this is near-perfect (I very rarely use this word). We witness Jarrett as a ‘complete’ artist: world-class piano technique, fantastic free-improvisation, commanding band leader, and importantly fantastic fearless composer. All the songs in this album were brilliantly conceived, meticulously written, and yet still allow plenty of room for free improvisation. Any claim that Jarrett is a poor composer should be put to rest. He is, without doubt, one of the finest composers jazz world has ever witnessed. The music here was recorded 36 years ago but still sound so relevantly fresh. Jarrett exalted regularly throughout the performance, which is forgivable, due to sheer amount of ecstasy radiated from this group’s music.

Not only Sleeper is a definitive in Keith Jarrett’s array of catalogue, it is also a premier album for contemporary jazz. It is an honour listening to this masterpiece.

[treat-your-ears]

Paris / London -- Testament

“Paris / London -- Testament” by Keith Jarrett

Recorded live in concerts at:

November 26, 2008 at Salle Pleyel, Paris, France

December 1, 2008 at Royal Festival Hall, London, England

ECM Records (2009)

Musician:

Keith Jarrett -- acoustic piano

Track List:

CD1: Paris Part I - VIII

CD2: London Part I - VI

CD3: London Part VII - XII

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After indulging ourselves with Keith Jarrett’s triumphant solo releases of the past, such as Sun Bear Concerts, The Koln Concert, or Vienna Concert, we took Jarrett’s virtuosity for granted. We believed that it is easy for him to deliver long seamless piano explorations time to time. Even when he switched into a shorter-but-connected improvisations, such as Radiance, we still thought that Jarrett is nothing but one super gifted piano player.

Keith Jarrett ferociously stated in his liner notes that “It is NOT natural to sit at a piano, bring no material, clear your mind completely of musical ideas, and play something that is of lasting value and brand new.” Furthermore, Jarrett emphasised the ‘chemical importance’ of audiences to help him conceiving those solo performances. I believe so, too. Jarrett needs to expend the fullest concentration, imagination, and unerring piano techniques every time he graces the stage. That requires insane dedication and physical fitness. No wonder he fell ill few years back due to this intense pressure. How lucky we are as listeners -- skipping the gruesome torture entirely to enjoy the distilled, pristine improvisation pieces.

Another benefit of reading his liner notes is to understand what personal struggle he had face. In this album Paris / London -- Testament, he told the tale of his mental breakdown. After 30 years of marriage, his wife left him. He was obviously distraught, extremely sad, and almost quit music. Thankfully, he realised that music is one way (or probably the ONLY way) to channel this disruptive feeling into something constructive. Or in his own words, “scrambl[ing] to stay alive”.

With that personal note in mind, we can appreciate this 3-CD offering even more. Jarrett hit the stages back, in Paris and London, to deliver these poignant 20 parts of completely improvised pieces. However, those audiences, who most likely did not know what personal struggle Jarrett was facing, were still able to feel the brilliance of music Jarrett played.

One thing that sets Jarrett apart from other musicians is that Jarrett treats the piano as his own body organ. His voice is piano voice, thus he knows the klavier sounds better than anything else. He does not have to speak out his feelings or gesticulate his sadness (probably he is not that good in those fronts). Instead, he lets his fingertips do the talking in a very profound way to create a very long lasting memento.

If piano is his body organ, then Jarrett expertly commands his two hands as two separate nerve cells who are doing two different things. Rather brilliantly, he lets both hands to sing two separate beautiful melodies -- to express various indescribable feelings he had. He probably missed his wife, or probably hate her, or even love her more than ever -- we will never know. However, those two hands that play noticeably different melodies seem more connected than ever. This is Jarrett’s undeniable brilliance -- he gets the right balance of letting go and pulling closer. 

Paris / London -- Testament, rather aptly, is a big testament of Jarrett’s impressive talent and technique. The first night in Paris, he set up eight connected parts brilliantly. Each note was thoughtfully conceived and expertly executed. The Part III of Paris is something that is enviable. Every piano player on this planet wants to create such flowing ostinato like that -- and Jarrett does that almost effortlessly. 

Jarrett continues to bare his encyclopedic knowledge of jazz improvisation few days later in London. A longer performance (spanned over two CDs) and perhaps less cohesive than the Paris’ pieces, but it boasts finer techniques and balance. The level of concentration, balance, and techniques are just bewildering. 

Listening to Keith Jarrett is not as simple as attending normal piano recitals. His music demands concentration, tenderness, intelligence, and open mindedness. We then appreciate the level of high art that Jarrett is consistently producing. Paris / London -- Testament is no different. It is more than just piano recording, it is a meditative extravaganza. Highly recommended.