Keith Jarrett, Gary Peacock & Jack DeJohnette Standards in Sweden I & II

Keith Jarrett, Gary Peacock & Jack DeJohnette

Standards in Sweden I & II

Keith Jarrett, Gary Peacock & Jack DeJohnette

STANDARDS IN SWEDEN I

This two-set release marks an historical turning point for Keith Jarrett. A familiar face in the context of ECM Records, the 1989...
MP3 $7.99 | AAC $11.99 | CD DL $14.73

Keith Jarrett, Gary Peacock & Jack DeJohnette

STANDARDS IN SWEDEN II

This two-set release marks an historical turning point for Keith Jarrett. A familiar face in the context of ECM Records, the 1989...
MP3 $7.99 | AAC $11.99 | CD DL $14.73

Keith Jarrett's Standards Trio is now as much part of the jazz furniture as the Duke Ellington orchestra or the John Coltrane quartet. This 1989 concert, recorded six years after the pianist first teamed up with bassist Gary Peacock and drummer Jack DeJohnette, sounds fresh and exuberant. The trio confidently launch the standard repertoire into a three-way conversation whose narrative others were already trying to follow. Recommended.
Mike Hobart, The Financial Times

It only took twenty years for this recording to see the light of day. But it was certainly worth the wait! Recorded in Stockholm in 1989, Standards in Sweden features all of the tasteful, daring, and intuitive musicianship these particular players have become known for in all of their varied projects. Whether coaxing a tender ballad out of the piano or busting through a tune that stomps and grooves, Jarrett is always a master at balancing sophistication and atmosphere. Relaxed, joyous, and in-step, this music was clearly made by guys who love performing together.
CD Baby

This two-set release marks an historical turning point for Keith Jarrett. A familiar face in the context of ECM Records, the 1989 recording from Stockholm, featuring Gary Peacock and Jack DeJohnette, is the first release in thirty-eight years released in his home country, now available on Blue Music Group. The October 1989 tour has been documented and released on two earlier ECM releases, "Standards in Norway" and "Tribute", but this one reveals what the trio really sounds like at its best. Stratospheric improvisations, masterful ballads and trio rapport on a nearly supernatural level, are all present throughout this recording.

One of Jarrett's many specialties is a suspenseful depth which gradually reveals itself throughout the song and the concert experience. On the opening "Lover Man", he demonstrates this virtue at its highest, as the gloomy lyrics can be felt if not heard. The melody is stated in the singing treble register, a lyrical, thin sound of lonesome purpose. The story continues to "The Way You Look Tonight", a sparkling bop rendition with DeJohnette's sparse comments of polyrhythmic character, allowing the sense of tempo and groove expand multi-dimensionally. Jarrett's fluid lines are of extraordinary character, always dodging the obvious, and running a rather highway-style driving on a country road. There are many beautiful ballads in the jazz repertoire, but "The Ballad of the Sad Young Men", and "When I Fall in Love", both performed in the first set, are exquisite favorites of heart-melting beauty. Simplicity pays off as Peacock and DeJohnette contribute to the presence of the melody by supporting the foundation.

The second set is featured by a few somewhat happier medium swing selections, "The Wrong Blues" and "Sweet and Lovely". The effortless trio collaboration enjoys the fearless and humorous exchanges, sparking surprises even for the performers themselves. The brightest highlight of this entire release is Jarrett's mind-blowing introduction to "All The Things You Are", a technical masterpiece executed in his truly personal style, much like on "Tribute", but here with an entirely different gear. During the course of the solo, the title is well outlined as the pianist extends the song form into previously unknown altitude, continued by equally freewheeling outlooks by Peacock and DeJohnette.

Although Mika Pohjola is a respected jazz musician with critical ears, I don't believe his liner notes are entirely fair. While there is no doubt about the trio's fame, these aspects by no means detract any spontaneity or flame from the music. I further disagree that the Jarrett trio would be a one-man show with two faithful assistants. Pohjola is right, however, in his closing argument "few have done what these masters do concert after concert", and that puts the entire somewhat personally flavored write-up into the category of musicians' internal criticism, and on Jarrett's – and Pohjola's – exclusive level.

Standards in Sweden is a remarkable Jarrett outing also in terms of its sound. His numerous ECM releases, which are of tremendous musical value, have unfortunately been hasted in their production, resulting in cold and distant experiences, especially compared to this release, featuring a warm presence much in the style of Rudy van Gelder and the Blue Note years. This sonic presence works well for Jarrett, and especially the Standards Trio, and we can only hope for more of these excellent productions in the near future. Jarrett, the trio and Standards in Sweden are all solid winners, as the music can now be enjoyed by all those who were not lucky enough to attend the magnificent concert.
Anderson Riley