Seven jazz standards, with an original tacked on as appendix. That's standard fare for the Keith
Jarrett Trio, which has made its mark over the last two decades as a leading interpreter of the jazz
canon. In the interval since its inception in 1983, the trio has pumped out 14 records of uniformly
high quality, relying on the combined talents of three seasoned veterans: pianist Keith Jarrett,
bassist Gary Peacock, and drummer Jack DeJohnette.
So this is the fifteenth. What to say? It's live. It's outstanding. It's a lot like the others.
A note of explanation. Music critics tend to fall victim to a common disease, with the unfortunate
misconception that their readers suffer from the same. When you've heard every record a group
has ever released--and, alas, that is the case here--you tend to grow cynical. If a new recording
doesn't stand out dramatically from the others, it loses its luster. But for someone who isn't quite so
jaded, that same disc can be a revelation, a discovery, a road to enchantment. That is also the case
here.
The seven standards on Up For It span about ten minutes on average. That space allows
the group to expand at length in group and individual improvisation. The place where the trio works
its best magic is where all three players interlock in ever-shifting roles. The pianist has a
predilection for punchy melodies mixed with rippling runs, keeping a constant eye on the idea of
song. (And yes, he "sings" here in his own unique way, fortunately low in the mix.)
And, while on that subject, the sound is outstanding for an outdoor live performance in the rain.
Bassist Gary Peacock shines on Oliver Nelson's "Butch & Butch," whose rapid tempo
demands
quick responses and places a premium on deliberation. He punches in and out of walking bass
lines, regularly rising to the high end to interlock with Jarrett in unpredictable ways. That's the
essence of Peacock's contribution, along with a particular sense of rhythm which has an outward
regularity but
exerts a constant elastic swinging tug.
The trio charges right into Charlie Parker's "Scrapple from the Apple," with its stop-
and-start
melody, nodding overtly to the pointed energy that defined bebop. As time progresses, they
continue to jump forward with a youthful vigor. The full trio goes intercontinental with an extended
improvisation around the changes before bass and drum solos. On the latter, Jack DeJohnette's
muscular yet articulate phrasing stands in isolation, though he swings like mad throughout the entire
recording. The most dramatic feature of Up For It is DeJohnette's playing, which sets it apart
from the rest and rewards attention. Especially on the uptempo numbers--about half--he just hits it.
Up For It reveals a barely palpable gap between expectation and reality. That's a good
sign. The level of interaction and sheer celebration on this record make it a crisp reminder that
standards can be fresh forever.
Note: On January 28th, Keith Jarrett won Sweden's prestigious
Polar Music Prize, an honor previously bestowed on
musicians ranging from Bob Dylan to Karlheinz Stockhausen.
Visit ECM Records and
Keith Jarrett on the web.
~ Nils Jacobson
