Keith Jarrett makes instant piano magic

Press, 9 February 1983, Page 20

Keith Jarrett makes instant piano magic

Jazz review by

ALLAN FRANCIS

THE KOLN CONCERT. Keith Jarrett, piano. Parts 1 to 4 recorded live at the opera in Koln. Germany. ECM 1046 ’65 ST.

Approaching the daunting proposition of four sides of unaccompanied piano is the sort of thing one usually postpones until tomorrow — or the day after — but it seems that'the biggest hurdle is simply to get the stylus on to the first new bars, and then even the stodgiest reviewer is hooked.

It is instant magic. Jarrett is not like any other, his rushing stream of improvisation ransacks the classical, baroque, gospel, country and boogie bags, rolling them all

into a hypnotic ball of fasci nating sounds. He is impossi ble to categorise.

Miles Davis was noted for attempting this sort of thing, though his efforts were frequently devoid of inspiration (Fillmore Concerts), whereas Jarrett marks the return of the solo, acoustic piano with these high-quality performances - and grand piano at that.

These German discs established new standards of freedom for the artist and sound reproduction, but at the time the experts almost unanimously prophesied doom at the cash register. Not so. The sheer lyric romanticism of Jarrett’s endless genius won him a following which bordered on cult proportions.

There are no Brubeck tricks, no Feyer transparency or the variable quality of Willie (The Lion) Smith. Jarrett has made history with these virtuoso performances. What is he like in company may be another matter. His American recordings would certainly be interesting.

THE LEGENDARY GLENN MILLER VOL. 4 The Glenn Miller orchestra from 1938 to 1942. 15 tracks from the complete studio recordings for RCA Victor. LPV 1022.

With their usual thoroughness, RCA have made this ball-by-ball commentary on the Glenn Miller legend and in so doing have come up

with many seldom heard numbers, the net result is that one wonders why the record company has kept these in moth-balls for so long while merely repeating the same couple of dozen well-worn tunes every year or so.

True, there is no new ground technically, because once Miller got his formula into an agreeable pattern he rarely diverted into any new arrangements. The one here. “My Isle of Golden Dreams." bearing the stamp of the early Sauter-Finnegan partnership. would never be a near exception.

In the end though, this chapter belongs to Ray Eberle. Almost without exception the numbers feature this band vocalist and it is an interesting reflection to hear him to such a wide degree in songs, sweet and lyrical, such as "My Prayer." "Blue Moonlight." "So Many Times," "An Angel in a Furnished Room." “Who's Sorry Now" and the Durham arranged "I Want To Be Happy."

Only the up-tempo numbers. “Farewell Blues." "My Isle of Golden Dreams" and the ever-present “In the Mood" leave Eberle in the wings. However, the presence of Marion Hutton in the send-up, “Wham, Re-Bop, Boom-Barn" makes an amusing relief.

Sound, as expected, is well up to the smooth RCA standard, with no transfer hiss or

any other unwanted accretia. A must for Miller fans and there are undoubtedly thousands still out there from early days, not counting the new generations caught up in the magic’.

THE POPULAR DUKE ELLINGTON. 11 standards by Duke Ellington played by the 1966 band. RCA VPL--17329.

Yet another "A Train"? Ah. but which “A Train"? Is it the one with the short introduction or the really extended one with variations? Neither: this one starts in 3 '4 time, before taking ofl in the accustomed manner and so' one more Train makes its familiar departure, along much the same tracks.

Not quite though. The Duke may have been singleminded with most of his own products but it still remains a constant source of amazement just our many variations he can squeeze out of one theme. This is why we can listen again and again to his old warhorses with renewed pleasure. "A Train. "Perdido." "Concerto for Cootie" (Williams), or “I Got It Bad" would have sounded dreadfully mechanical by now. but for the Duke’s genius for improvisation.

In this particular line-up. he was blessed with Harry Carney. Johnny Hodges. Jimmy Hamilton and Cootie Williams, giving him the hard core from which he could operate. Ellington’s genius was not restricted solely to composition as his executive power to have the right men at the right time proved invaluable.

Since his demise, son Mercer has played much the same ineffectual role as did Tex Beneke with the Miller band and it is a matter of some concern as to the direction the Ellington band will take from now on.

The principal side effect of this uncertainly is so enhance the recordings made when the band was in full flight, as on this review disc when both were artistically and technically in their prime. Some critics opt for the early 40’s as the Duke's golden era but I would seriously question this assertion when we can have records of this quality.