KEITH JARRETT / CHARLIE HADEN / PAUL MOTIAN – Hamburg ‘72
ECM 470 4256
Keith Jarrett (piano, soprano saxophone, flute, percussion); Charlie Haden (double bass); Paul Motian (drums, percussion)
Recorded June 14, 1972
For followers of Jarrett’s work over the last thirty years or so, with his monumental solo piano recitals and the Standards Trio with Gary peacock and jack DeJohnette, it is perhaps easy with the passing of time to overlook his work prior to that.
At the time of this live recording at the NDR-Jazz-Workshop, the pianist had just begun his association with Manfred Eicher and ECM as Jarrett had recorded his solo album for the imprint in November 1971 which was released just three months prior to this concert. The trio with Haden and Motian was already an established unit, as can be heard immediately in these performances, having recorded three albums on another label, Life Between The exit Signs (1967), Somewhere Before (1968) and The Mourning of a Star(1971). Saxophonist, Dewey Redman had also been performing with the trio which would become the permanent band known as Jarrett’s American Quartet.
These tapes, remixed by Eicher and Jan Erik Kongshaug some 42 years later reveals the trio at a staggering level of intensity and lyricism, and performing at a level that is quite staggering. The three musicians play in a way that is totally different from the Standards Trio, even at their most freely improvised performances, and capture Jarrett’s ability as a multi instrumentalist in a manner that is free from any hint of self indulgence.
The opening ‘Rainbow’ begins gently enough with painterly splashes of colour form Motian, quickly turning up the heat, whilst ‘Take Me Back’ is a joyously infectious piece that is driven along Haden and Motian, spurring on the pianist who is clearly having a ball. By contrast, ‘Piece for Ornette’ has Jarrett playing some ferocious and heated soprano over a boiling pulse from the rhythm section, firing out molten lines of pure melody along with fractured and splintered phrases that leave the listener breathless trying to keep up. The tour de force and fitting finale for the album, however, is Haden’s ‘Song For Che’. Over the course of fifteen minutes, the trio individually and collectively lay down a performance that can only be described as masterly. The piece is utterly timeless, and reaches emotional heights that command close listening, with every nuance and phrase made to count.
A timely reminder of just how good this trio was, and we can once again marvel at the bass playing of Charlie Haden, as mixing began on these tapes the day after Haden’s passing. Another important document not just in Jarrett’s discography, but that of all participants.
Reviewed by Nick Lea
ECM 470 4256
Keith Jarrett (piano, soprano saxophone, flute, percussion); Charlie Haden (double bass); Paul Motian (drums, percussion)
Recorded June 14, 1972
For followers of Jarrett’s work over the last thirty years or so, with his monumental solo piano recitals and the Standards Trio with Gary peacock and jack DeJohnette, it is perhaps easy with the passing of time to overlook his work prior to that.
At the time of this live recording at the NDR-Jazz-Workshop, the pianist had just begun his association with Manfred Eicher and ECM as Jarrett had recorded his solo album for the imprint in November 1971 which was released just three months prior to this concert. The trio with Haden and Motian was already an established unit, as can be heard immediately in these performances, having recorded three albums on another label, Life Between The exit Signs (1967), Somewhere Before (1968) and The Mourning of a Star(1971). Saxophonist, Dewey Redman had also been performing with the trio which would become the permanent band known as Jarrett’s American Quartet.
These tapes, remixed by Eicher and Jan Erik Kongshaug some 42 years later reveals the trio at a staggering level of intensity and lyricism, and performing at a level that is quite staggering. The three musicians play in a way that is totally different from the Standards Trio, even at their most freely improvised performances, and capture Jarrett’s ability as a multi instrumentalist in a manner that is free from any hint of self indulgence.
The opening ‘Rainbow’ begins gently enough with painterly splashes of colour form Motian, quickly turning up the heat, whilst ‘Take Me Back’ is a joyously infectious piece that is driven along Haden and Motian, spurring on the pianist who is clearly having a ball. By contrast, ‘Piece for Ornette’ has Jarrett playing some ferocious and heated soprano over a boiling pulse from the rhythm section, firing out molten lines of pure melody along with fractured and splintered phrases that leave the listener breathless trying to keep up. The tour de force and fitting finale for the album, however, is Haden’s ‘Song For Che’. Over the course of fifteen minutes, the trio individually and collectively lay down a performance that can only be described as masterly. The piece is utterly timeless, and reaches emotional heights that command close listening, with every nuance and phrase made to count.
A timely reminder of just how good this trio was, and we can once again marvel at the bass playing of Charlie Haden, as mixing began on these tapes the day after Haden’s passing. Another important document not just in Jarrett’s discography, but that of all participants.
Reviewed by Nick Lea
