In 1983, acclaimed American jazz pianist Keith Jarrett asked bassist Gary P… Read Full Bio ↴In 1983, acclaimed American jazz pianist Keith Jarrett asked bassist Gary Peacock and drummer Jack DeJohnette (the latter his colleague in the Charles Lloyd Quartet of the late 1960s) to record an album of jazz standards that was released simply entitled Standards, Volume 1. The three had previously worked on Peacock's 1977 album Tales of Another.
Standards, Volume 2 and Changes, both recorded at the same session in New York, followed soon after. The success of these albums and the group's ensuing tour, which came as traditional acoustic post-bop was enjoying an upswing in the early 1980s, led to this new "Standards Trio" becoming one of the premier working groups in jazz, and certainly one of the most enduring, continuing to record and perform live over more than twenty years.
The Jarrett/Peacock/DeJohnette trio has also produced recordings that consist largely of challenging original material, most notably 1987's Changeless. (These recordings are noted above.) Several of the standards albums contain an original track or two, some attributed to Jarrett but mostly group improvisations. The live recordings Inside Out and Always Let Me Go (both released in 2001) marked a renewed interest by the trio in wholly improvised free jazz. By this point in their history, the musical communication between these three men had become all but telepathic, and their group improvisations frequently take on a complexity that sounds almost composed. The Standards Trio undertakes frequent world tours of recital halls (the only venues in which Jarrett, a notorious stickler for acoustic sound, will play these days) and is one of the few truly lucrative jazz groups to play both "straight-ahead" (as opposed to smooth) and free jazz.
Standards, Volume 2 and Changes, both recorded at the same session in New York, followed soon after. The success of these albums and the group's ensuing tour, which came as traditional acoustic post-bop was enjoying an upswing in the early 1980s, led to this new "Standards Trio" becoming one of the premier working groups in jazz, and certainly one of the most enduring, continuing to record and perform live over more than twenty years.
The Jarrett/Peacock/DeJohnette trio has also produced recordings that consist largely of challenging original material, most notably 1987's Changeless. (These recordings are noted above.) Several of the standards albums contain an original track or two, some attributed to Jarrett but mostly group improvisations. The live recordings Inside Out and Always Let Me Go (both released in 2001) marked a renewed interest by the trio in wholly improvised free jazz. By this point in their history, the musical communication between these three men had become all but telepathic, and their group improvisations frequently take on a complexity that sounds almost composed. The Standards Trio undertakes frequent world tours of recital halls (the only venues in which Jarrett, a notorious stickler for acoustic sound, will play these days) and is one of the few truly lucrative jazz groups to play both "straight-ahead" (as opposed to smooth) and free jazz.
I Thought About You
Keith Jarrett Trio Lyrics
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@jennifer86010
In response to your comment about the Keith Jarrett Trio in their 1993 concert in Tokyo...the tune "I Thought About You".....I too, miss them very much, however, as a jazz pianist who met them all and attended many of their concerts, I discovered that I actually enjoyed listening to them more on recordings than in live performance. I first learned of
the advantage of studio recordings over listening in live performances, when the late film director Alfred Hitchcock said in an interview how he hated to shoot on outdoor locations, because he couldn't control all the unwanted noises and the problems with sunlight.
One very big reason the Keith Jarrett Trio sounds good on recordings is the fact that the sound of the recordings, whether made in-studio or captured professionally in live concerts, is always great quality. As someone who has recorded many jazz trios over the years, I learned early on that listening with the naked ear was never as rich as a recording, since ambient noises, echo, and poor placement in a room or hall decreased the sound quality.
Good mic placement and good mixing eliminated most of the problems. Fortunately, we have these great videos, which, for the most part, were recorded professionally, using good micing techniques and good mixing. We also have all the ECM recordings that that Keith has done over the years, with this trio as well as his earlier recordings.
There may never be another Keith Jarrett Trio, but there will always be the Keith Jarrett Trio recordings, and those will remain immortal.
@kenturnbull1846
Do you mean the 'original' by:
Kenny Burrell with Coleman Hawkins (1962)
Miles Davis (1961)
Stan Getz with Kenny Barron
Benny Goodman with Mildred Bailey – 1939
Johnny Hartman (1959)
Billie Holiday with Bobby Tucker 1954)
Shirley Horn (1987)
Branford Marsalis with Kenny Kirkland
Carmen McRae (1972)
Diane Schuur and Johnny Smith
Frank Sinatra (1956)
@harrissimo
They are filled with pure joy when they play
@202rrlowe
Tremendously powerful and beautiful. it has the weight of a glacier moving slowly through itself and intimately profound. Very quiet, unassuming, rich and interesting. The artistry is marvelous.
@keith3355
Keith Jarrett's ballads touch the innermost place of one's soul!!!!
@rmac1042
Can we just take a moment to talk about Gary! OMG those pedal points! They just RING with passion! God, how I miss this trio!
@jennifer86010
In response to your comment about the Keith Jarrett Trio in their 1993 concert in Tokyo...the tune "I Thought About You".....I too, miss them very much, however, as a jazz pianist who met them all and attended many of their concerts, I discovered that I actually enjoyed listening to them more on recordings than in live performance. I first learned of
the advantage of studio recordings over listening in live performances, when the late film director Alfred Hitchcock said in an interview how he hated to shoot on outdoor locations, because he couldn't control all the unwanted noises and the problems with sunlight.
One very big reason the Keith Jarrett Trio sounds good on recordings is the fact that the sound of the recordings, whether made in-studio or captured professionally in live concerts, is always great quality. As someone who has recorded many jazz trios over the years, I learned early on that listening with the naked ear was never as rich as a recording, since ambient noises, echo, and poor placement in a room or hall decreased the sound quality.
Good mic placement and good mixing eliminated most of the problems. Fortunately, we have these great videos, which, for the most part, were recorded professionally, using good micing techniques and good mixing. We also have all the ECM recordings that that Keith has done over the years, with this trio as well as his earlier recordings.
There may never be another Keith Jarrett Trio, but there will always be the Keith Jarrett Trio recordings, and those will remain immortal.
@MrRickywallace
Love the way he quickly enters the improvisation, plus, how the melody is veiled! Thanks beaucoup!
@randaltomasallo
I caught Keith only once live, 1973 at the Village Vanguard with Dewey Redman. I was sitting with a writer from the Village Voice who finagled his way back to the dressing room on the break. In the interview Jarrett commented that he only played now for his audience, that he had "transcended" music, but felt he would continue on for his audience. In other words, he "was" music. In all the years since, I've never questioned his word. He's doing it for us.
@pnojazz
Keith and ballads = sublime bliss!
@danielscheinhaus5210
Beautiful interpretation, great creation, wonderful imagination.
@rwkenyon
No doubt about it, it's a beautiful interpretation. We jazz lovers know and understand all this; what would it take for others to love this music as much as we do? That is the question!