Customer Reviews

Standards 1

5 star:		(9)
4 star:		(2)
3 star:		(2)
2 star:		(1)
1 star:		(2)

 

 

This is where it began for Keith Jarrett's "Standards Trio" with Jack DeJohnette and Gary Peacock. Seventeen years and almost three dozen discs of standards later, it's clear that these three are masters. Every album they've released takes the standard jazz canon and does what musicians have been striving for since Louis Armstrong invented the practice of playing standards in the late twenties: they can play the melodies with grace and beauty and turn the songs into sonic environments that stray far from the composer's intentions into an almost abstract place of pure sound and thought.

I have been listening carefully to music in general for more than 30 years, the last 20 to mostly jazz, both as a lover and player of this music. This recording to my mind is without any reservation one of the truest representations of mindful improvisation I have ever heard. Genuine, sincere and fresh. Right along with Parkers or Hawks body and soul, Davis someday my price will come, and so on. Personally ,one of the few trio records I can lsten to for either the drums or bass alone. Priceless. A warm and sincere Thank you Mr. Jarrett et.al.

The Volume I Standards CD by the Keith Jarrett Trio is masterful performance of
five tunes which are near and dear to the hearts and souls of jazz lovers the world over.
The communicative interaction of Jarrett and his 'supporting cast' is nothing short of
amazing. Jack DeJohnette, a favorite drummer of, among others, Miles Davis, and Gary
Peacock formerly known mostly for his avant-garde work provide a lyricism, musicality
and rhythm that is constantly preventing you from focusing entirely on the brilliant
improvisations of the leader. This gives the listener, at times, the impression that three
instruments are being played by one mind and one person.
'All the Things You Are' is a perfect example. After a swirling piano intro by
Jarrett, the group goes in to a swinging version of the theme which is twisted and turned
in an infinite number by Jarrett. Peacock, and DeJohnette accent, punctuate and embellish
on those twists and turns as if Jarrett were also playing bass and drums. Three musicians
made one for a time. After a soaring piano solo. DeJohnette reminds you what a master of
his craft he is with his transition into the bass solo. After an inventive solo by Peacock,
Jarrett begins to play the melody softly over the remnants of the bass solo. The theme is
then stated one more time and one is left thinking it should be re-titled, "All the Things
That This Tune Should Be," and is.
For the uninitiated, Jarrett's combination of shouting and scat-singing may cause
some initial surprise. However, the listener will soon be enamored with the beauty of
lyricism and passion of both Keith Jarret and this outstanding trio. Buy this CD and be
prepared to cherish it.

Brian Orfall

This album showcases some of Keith Jarrett's best piano improvisation in a group setting on record. In the midst of his huge solo piano efforts (Koln Concerts, Sun Concerts), and his group improvisations (Eyes of the Heart, Nude Ants), his ability to thrive in a standard jazz trio setting, playing standard jazz music seemingly got forgotten. Then this album came out, and blew me away.

Jarrett has always had a remarkable ability to wrench everything possible out of a melody, in the sweetest, funkiest, more harmonic fashion, and this album shows that, while he is accompanied by Jack DeJohnette and Gary Peacock -- 2 of the biggest names in modern jazz.

The only drawback is Jarrett's histrionic keening during solos. While he would argue he wasn't aware of it, there are plenty of great recordings where this noise isn't as prominent. Surely Manfred Eicher could have figured out how to block that out of the recording.

But even with his moaning, this album boasts the single best performance of God Bless the Child.

Perhaps I was just naive in thinking that my own reaction would be closer to the norm, but I must say, I'm surprised and even a bit disheartened to read that so many seem to find Jarrett's vocalizations to be such a detractant.

Twenty years ago, when I first heard a Keith Jarrett album, I thought they were odd, and slightly distracting, but I very quickly got so used to them that they've long since ceased to be any distraction at all, being taken as no more than the applause at a concert or the crowd noise at a sporting event.

Indeed, they're now so expected as to be anticipated at certain moments during listening, and I smile while thinking to myself, "Ah yes, that's still Keith sure enough."

The fact is that Jarrett and his two mates have long been the tightest and arguably the best working trio in jazz, that this album was the commencement of that association, and that it contains what is quite likely the best instrumental version of "God Bless the Child" ever recorded.

Historically aware jazz fans will recall that Jarrett is hardly the first great pianist to habitually vocalize while at the keyboard---the inimitable Erroll Garner immediately springs to my mind---yet great he was, nevertheless, and so is Jarrett, being almost absurdly talented.

This album is surely no less a showcase for that talent than are several others, and I would hope more people would be able to focus on that talent and not obsess on the vocalizations, which even if distracting, are a very tiny price to pay for such virtuosic music.

When this recording was first issued one could not have known that it would establish the framework for much of Jarrett's jazz-based recordings for the next 2 decades. This release was recorded at the same sessions that also produced Standards Vol 2 and Changes. Given all the Standards works available, you'll do better to start elsewhere. Standwards Volume 2 is close to perfection, and has the leg up on this recording. It is hard to say exactly why, but this seems a tentative first step at times, whereas Volume 2 seems flawless and beautiful. And of course the standards recordings kept coming and coming, with a lot of great ones ahead. So pick this one up if you want to see where it all began, but pick Standards Vol 2 if you want to hear the best studio recording by this trio (Note: Gary Peacocks Tales Of Another features the same trio with a different agenda, recorded years earlier, and is also a great one)

I like a lot of Keith Jarrett's music and the music on this CD is great -- UNTIL you hear Mr. Jarrett start bleating out off-key humming/singing, which ruined the CD for me and made me dump it off my ipod. Sometimes it's not too audible, but once I noticed it I couldn't focus on the music anymore. Too bad -- be forewarned. Wish I had taken the reviewers' comments more seriously (instead I went by the glowing 5-star review from the All Music Guide to Jazz).

This album contains some of the most beautiful piano playing in jazz history, really outstanding. Unfortunately Mr. Jarrett makes his annoying non-verbal sounds throughout, which are quite audible. These are not evocative outbursts of ecstasy to this listener, as they may have been for Mr. Jarrett. They are just plain distracting, and detract from what should be one of the landmark piano albums of all time.

I can hardly believe that a jazz fan should mind additional growls and moans produced by the great instrumentalist; as someone raised on the e-e-e-e-e by Lionel Hampton or occasional Oscar Peterson's mumbling, I'm really confused how can they miss that Jarrett COMPLEMENTS his subtle playing with his vocal groans and moans?

Well, to each his own, but I think this CD is a MASTERPIECE!
If you like jazz, that is...

Jarrett, Peacock & DeJohnette are truly spiritual. The exchange between players is refreshing, inventive and cutting edge. A sound that's truly their own. Many times recording are just a
contrived mimic of other players of the past. It's a nice change to see a trio, that understands history references it in their playing but have evolved to the next step. Their use of rhythms, voicings and original arrangements are breath-taking.