Great review. I've always enjoyed going back and forth between Jarrett's ECM and Impulse recordings in an extended listening session. I love both of those altogether different modes. An amazing talent. I also wanted to say, how this latest review exemplifies why I so appreciate your work on this channel, Allan. As always, it's thoroughly researched, well-planned, articulate, nuanced ... and produced with an obvious respect for your audience and their time. Thank you!
Thanks Maurizio. He’s a fascinating artist. Although I never think of myself as much of an ECM guy (I find Eicher’s output a little bloodless at times, possibly because of the very limited blues influence within the catalogue), Jarrett is someone whom I’d rather listen to on ECM than other labels. This album a bit of an anomaly for reasons discussed in the video. Maybe - and I’ll have to listen again to his other Impulses! - it was the use of ECM which was a bad combination with his AQ. Just a theory, not sure if I believe it yet!
@@TenMinuteRecordReviews It's amazing that Jarrett could make his rather cerebral "chamber jazz" for ECM, while at the same time, laying down the contrasting Impulse recordings which featured some amazingly infectious gospel-infused soul groove romps, like 'Southern Smiles' from the LP Shades and 'Le Mistral' from the LP Treasure Island.
Excellent review I first saw Keith Jarrett here in Philly in 1966 with Charles Lloyd been following him all along these years your review is exactly my feelings
ECM as the "hermetically sealed wet-wipes version" of an avant-garde label? That's one I've never heard before! Thanks for the smile... I saw Jarrett perform solo at the Paramount in Seattle in the mid-'70s and loved his popular improvisational piano records (Koln, Bremen), but also found things to enjoy in those more formal or "classical"-leaning (?) albums like "Death and the Flower" (1975) and "Arbour Zena" (1976). Jarrett's music tends toward the chilly and cerebral, I think, but one of those records is on Impulse and the other's on ECM. Both feature Haden and a saxophonist (Dewey Redman and Jan Garbarek, respectively), but one has Motian and the other has strings. Which did the labels consider to be more "serious," I wonder? On some later Jarrett records (like his "Standards" trio recordings with Gary Peacock and Jack DeJonette) I find his guttural noisemaking sometimes unbearably distracting. It's one thing to get carried away in the heat of an avant-improvisation, but sometimes I feel like Tom Hanks: "There's no moaning in Gershwin!" But I guess Bud Powell made lots of vocal sounds when he played, too...
There was a better version of that joke in there somewhere but I gave up favour of just getting the damn thing done lol. Yes, he’s one artist about whom it’s tough to generalize.
Thanks for the suggestion. I’m usually a little wary of straying into musicology and musical theory, of which I am largely ignorant. But will give it some thought.
At times. There’s a kind of subset called “chamber jazz” which is more or less the 1950s American version. Chico Hamilton’s group with Fred Katz had elements of that too; similarly Jimmy Giuffre. You should look up Gunther Schüller, as he’s the big theorist on this stuff.
Great review. I've always enjoyed going back and forth between Jarrett's ECM and Impulse recordings in an extended listening session. I love both of those altogether different modes. An amazing talent. I also wanted to say, how this latest review exemplifies why I so appreciate your work on this channel, Allan. As always, it's thoroughly researched, well-planned, articulate, nuanced ... and produced with an obvious respect for your audience and their time. Thank you!
Thanks Maurizio. He’s a fascinating artist. Although I never think of myself as much of an ECM guy (I find Eicher’s output a little bloodless at times, possibly because of the very limited blues influence within the catalogue), Jarrett is someone whom I’d rather listen to on ECM than other labels. This album a bit of an anomaly for reasons discussed in the video. Maybe - and I’ll have to listen again to his other Impulses! - it was the use of ECM which was a bad combination with his AQ. Just a theory, not sure if I believe it yet!
@@TenMinuteRecordReviews It's amazing that Jarrett could make his rather cerebral "chamber jazz" for ECM, while at the same time, laying down the contrasting Impulse recordings which featured some amazingly infectious gospel-infused soul groove romps, like 'Southern Smiles' from the LP Shades and 'Le Mistral' from the LP Treasure Island.
My favorite of his American quartet recordings … by a mile.
Excellent review I first saw Keith Jarrett here in Philly in 1966 with Charles Lloyd been following him all along these years your review is exactly my feelings
One of my very favourites! Thanks for this great review.
Love your reviews. Thank you!
Glad you like them!
Awesome, Just Awesome Review! Thank you for all your hard work on your Reviews. I enjoy everyone of these.
ECM as the "hermetically sealed wet-wipes version" of an avant-garde label? That's one I've never heard before! Thanks for the smile... I saw Jarrett perform solo at the Paramount in Seattle in the mid-'70s and loved his popular improvisational piano records (Koln, Bremen), but also found things to enjoy in those more formal or "classical"-leaning (?) albums like "Death and the Flower" (1975) and "Arbour Zena" (1976). Jarrett's music tends toward the chilly and cerebral, I think, but one of those records is on Impulse and the other's on ECM. Both feature Haden and a saxophonist (Dewey Redman and Jan Garbarek, respectively), but one has Motian and the other has strings. Which did the labels consider to be more "serious," I wonder? On some later Jarrett records (like his "Standards" trio recordings with Gary Peacock and Jack DeJonette) I find his guttural noisemaking sometimes unbearably distracting. It's one thing to get carried away in the heat of an avant-improvisation, but sometimes I feel like Tom Hanks: "There's no moaning in Gershwin!" But I guess Bud Powell made lots of vocal sounds when he played, too...
There was a better version of that joke in there somewhere but I gave up favour of just getting the damn thing done lol. Yes, he’s one artist about whom it’s tough to generalize.
Sorry for being so demanding 😊 but would love to see an episode on Latin jazz, in particular, the difference between Brazilian, Cuban & Puerto Rican.
Thanks for the suggestion. I’m usually a little wary of straying into musicology and musical theory, of which I am largely ignorant. But will give it some thought.
What is meant by 3rd stream ?
There are more elaborate definitions, but at root: jazz meets classical, and by implication not blues based like so much American jazz.
MJQ ?
At times. There’s a kind of subset called “chamber jazz” which is more or less the 1950s American version. Chico Hamilton’s group with Fred Katz had elements of that too; similarly Jimmy Giuffre. You should look up Gunther Schüller, as he’s the big theorist on this stuff.
@@TenMinuteRecordReviews thanks, these guys dig deeper into classical than John Lewis ?
@@gigsfunk it’s different. And not usually this quartet; Jarrett’s other work is at times much more third-stream. Here there are just hints.
@@TenMinuteRecordReviews thanks, look forward to listening to it.