Inside Out (album)
| Inside Out | ||||
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| Live album by Keith Jarrett , Gary Peacock & Jack DeJohnette | ||||
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Publication |
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| Label (s) | ECM records | |||
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Format (s) |
CD |
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Title (number) |
5 |
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running time |
78:08 |
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Studio (s) |
Royal Festival Hall , Southbank Center, London |
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Inside Out is a jazz album by Keith Jarrett , Gary Peacock and Jack DeJohnette , which was recorded on July 26th and 28th, 2000 at the trio's concerts at London's Royal Festival Hall and released on ECM Records in 2001 . Inside Out was the trio's fourteenth release in 18 years. Günther Huesmann said: "Nothing illustrates the enduring fascination of free improvisation better than the conversion of pianist Keith Jarrett, who turned away from romantic-impressionistic play in favor of free improvisation on his 2001 CD Inside Out ."
background
After overcoming his illness from chronic fatigue syndrome , which lasted more than two years from 1996-1998 , the pianist Keith Jarrett had resumed his performances with the standards trio from the end of 1998. After first appearances in his home region ( After the Fall , published 2018), another concert followed, the recording of which was released on Whisper Not in 2000 . In 2001/02 Jarrett, Peacock and DeJohnette went on an extensive tour; During this period, recordings of concerts were made that were ultimately released as albums: Always Let Me Go (2002), Up for It (2003), The Out-of-Towners (2004), My Foolish Heart (2007) and Yesterdays (2009 ).
With the exception of the jazz standard When I Fall In Love , Jarrett, Peacock and DeJohnette played pieces that arose from improvisation during their guest performance in London .
Track list
- Keith Jarrett, Gary Peacock, Jack DeJohnette: Inside Out (ECM)
- From the Body (Jarrett) - 23:13
- Inside Out (Jarrett) - 21:13
- 341 Free Fade (Jarrett) - 18:50
- Riot (Jarrett) - 7:23
- When I Fall in Love ( Edward Heyman , Victor Young ) - 7:25
reception
John Fordham wrote in the UK Guardian that Jarrett played in his familiar idiomatic aspects that always put improvisation high on his agenda. Jarrett had consistently and refreshingly turned against the prevailing wisdom. “In the 1970s, when jazz was a lot electric, Jarrett said he would only play an acoustic instrument. Later, when every bandleader wanted to play originals, Jarrett formed the Standards Trio in an effort to find the most personal and cutting edge way to reinterpret old Broadway songs. In a jazz world of the 21st century, in which not only Diana Krall but also Michael Brecker seems to be fascinated by the Great American Songbook , Jarrett is playing freely improvised music again. And that is the story of this CD, a largely free exchange between pianist, bassist Gary Peacock and drummer Jack DeJohnette, which arose from the live recordings of two nights in London's Royal Festival Hall in July 2000. "
Fordham quotes what Jarrett wrote in the liner notes for this album:
- “There are two fades on this recording. The first reason is that we ended up playing a real song, but we didn't play a good version of it. "
For Fordham, Jarrett's determination underscores his firm pursuit of a new path: one of spontaneity without resorting to familiar melodies, the calming flag waving of standby jazz axioms or hot licks. There is no telling whether the change has anything to do with the three-year hiatus he suffered during chronic fatigue syndrome that resulted in Jarrett's triumphant return on tour last year. It sounded during the concert, and here it sounds like the famous all-or-nothing artist is conserving his energies a little more than in the past. “He formulates more episodically and fragmentedly and opens up spaces for more interaction with groups. This is not a free tiptoe, plink-and-rustling variation. Although there was a lot of quiet reflection in the Festival Hall , there were also top-heavy passages with exciting, rickety, flat noises and amazingly intuitive calls and answers . Jarrett also didn't behave like a man with a doctor by his side: he wriggled, spread his elbows, sparkled, stood motionless and stomped and howled and mumbled, as always, in accordance with the general flow. "
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“A lot of those sound effects can be heard on this sparkling set, but the collective energy of the group, the urge for the music to move forward, and Jarrett's still remarkable instincts to pull the melody out of the air almost make the voice a different instrumental line. Although the pieces are improvisations, the blues is a regular undercurrent, as Jarrett himself notes in the sheet music. And from a succinct post-boppish prelude that sounds like a mixture of Thelonious Monk and Paul Bley , to the classical piano playing (with Jarrett close to Brad Mehldau's territory), to Peacock's fluttering bass episodes and DeJohnette's restlessly booming percussion The sentence illustrates the charm that the pianist promises his listeners. "
“People who do not understand free music (like Wynton Marsalis , Ken Burns , etc.),” quotes Fordham Jarrett's notes with typical frankness, “cannot regard it as an astonishingly important part of true jazz history . Where is the shape? Do not ask. Do not think Do not expect. Just take part. It's all in there somewhere. And then it suddenly forms. "
Thom Jurek wrote in Allmusic that the trio of Keith Jarrett, Gary Peacock and Jack DeJohnette have been playing jazz standards for many years and, through improvisation, have expanded them into a whole language that not only reflects history, but also the eternal present of jazz. “Many have wondered if Jarrett would ever revert to the 'free' style of play he practiced in releases for Columbia, Atlantic and Impulse in the 1960s! It would be both impossible and unreasonable to expect a musician like Jarrett - and his sidemen - to revert to an innocence they lost long ago when they were less skilled musicians than they are now. Inside Out , [...] bridges this gap: It is completely improvised, except for one melody - an almost unbearably beautiful interpretation of 'When I Fall in Love' - as an encore. Here Jarrett, Peacock and DeJohnette have gone down in a way that has not been heard in years, from the silence to deep into the history of jazz, blues and even R&B to spontaneously invent a musical language that is trio-specific and communicative is the deepest levels of nuances, sound and spirit. "
“The opening track 'From the Body' begins with a rapid journey through the blues, from Memphis to St. Louis, via Mississippi to New Orleans and Chicago. Given the proximity of the dialogue and the far-reaching harmonic invention active in the middle registers of the piano and bass, it becomes a blur - it is impossible to really know who is leading or following, or whether such a hierarchy even exists . When the blues gradually - and temporarily - disintegrates and is replaced by what is popularly defined as free gambling, the dissonance is only marginally haunted. It's not like it doesn't belong or isn't welcome, it's just a minor concern because these guys know where they are going, or at least want to go. It's known, but not good or predictable. It's an invigorating improvisation. [...] Does it swing? Hell yeah, if your definition of this word is anything other than cut, 4/4, or waltz time - though some of the music played here uses these signatures exquisitely. Most importantly, the trio of Jarrett, Peacock and DeJohnette offer a new kind of free jazz - lyrical, tonally approachable and musically elegant, cut from the ears and executed with the grace of the heart. Lots of younger players who feel that the only way to freely improvise is to rip their chosen instrument to shreds and dab every ounce of pain and suffering that can be drawn from it in order to poorly listen to this record can. In it you will find the true secrets of the masters and the sheer poetics of the improvisational art of jazz. "
Glen Astarita said in All About Jazz , “Essentially, aside from the one standard 'When I Fall in Love', these pieces evoke notions of improvised suites . Jarrett's harmoniously driven clusters, fast hallways, bluesy refrains and the trance-like determination of Inside Out serve as a catalyst for the elegantly executed dynamics of DeJohnette and the polytonal timepieces by Peacock. '341 Free Fade' is a delicate, outspoken jazz romp that is reinforced by DeJohnette's springy counter-currents and chatter shots. 'Riot' has somewhat ominous overtones, however, with Jarrett's lower register, Ostinato -Groove, initiating the group's odd measured funk / shuffle instructions. Here and everywhere the pianist seems to slide over the piano keys while the band uses the space as a channel for expansion and for regeneration of negotiations and memorable melodic themes. "
“With Inside Out , the artists seem to be realigning their musical know-how as they expand their years of uniformity to the next logical degree of amplitude or state of being. Put simply, the trio reminds us that improvisation in general doesn't require a total sense of randomness for no reason; When we listen to the musicians, a masterpiece is created that resembles an artist who puts lines on a canvas. The underlying focus of the rings of substance and beauty as a production also means entertainment at the highest level. Warmly recommended. "
The jazz echo critic recalls that "the great melodist" Keith Jarrett has repeatedly allowed himself to play freely. For example in the quartet that he entertained with Dewey Redman , Charlie Haden and Paul Motian in the 1970s and that made recordings for Atlantic that were much less melody-independent than Jarrett's Scandinavian quartet for ECM at the same time. “The free play that Jarrett, Peacock and DeJohnette showed at the concerts in the Royal Festival Hall, on the other hand, clearly has its roots in jazz. "Listening to these recordings should make you realize how important the blues was to them," notes the pianist. "We just couldn't avoid using the language of the blues in London. Even in the context of free play. The blues are so pervasive and real."
Stuart Nicholson pointed out in JazzTimes that Keith Jarrett had emphasized that the now famous Standards trio "deals less with the standards themselves than with where the group can take them." Already at their first session in January 1983, where Standards: Vol. 1 and Standards, Vol. 2 were produced, they would have “revealed a parallel universe by recording the album Changes , which taken together can be understood as a manifesto of the group's intentions. As the trio evolved their ability to move out of and back into standard song form, a strong duality between the competing elements of freedom and form, such as in At the Blue Note from 1994. "
After Changeless , recorded in 1987, it took another 13 years for another album to re-examine this aspect of the trio's identity. Inside Out "throws the cards away and is a masterful exercise in sustaining spontaneous, persuasive, melodically inspired group interaction for long periods of time." The trio, "already a miracle of contemporary jazz," "lets Jarrett sink in while he eloquently mediates between DeJohnette's co-conspiracy impulses and Peacock's reasonable voice. Jarrett's intensity, the product of emotional honesty, can still be wounded - especially when he sends his companions from freedom into the form for 'When I Fall in Love'. "
Individual evidence
- ^ Translated from the English edition from 2001 ( The Jazz Book: From Ragtime to the 21st Century , ed.Joachim -Ernst Berendt , Günther Huesman)
- ↑ Album information at ECM
- ^ A b c d e John Fordham: The Piano Man Is Back. The Guardian, October 5, 2001, accessed March 1, 2019 .
- ↑ a b Review of Thom Jurek's album at Allmusic (English). Retrieved March 3, 2019.
- ↑ a b Glen Astarita: Keith Jarrett: inside Out. All About Jazz, October 1, 2001, accessed March 1, 2019 .
- ↑ Keith Jarrett: Inside Out. Jazz Echo, October 12, 2001, accessed March 1, 2019 .
- ↑ Keith Jarrett: Inside Out. JazzTimes, October 1, 2001, accessed March 1, 2019 .