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Keith Jarrett: Hamburg '72

 A l b u m   D e t a i l s


Label: ECM Records
Released: 2014.11.21
Time:
 55:26
Category: Jazz
Producer(s): Manfred Eicher
Rating:
Media type: CD
Web address: www.keithjarrett.org
Appears with: Jan Garbarek
Purchase date: 2015
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Rainbow (Margot Jarrett) - 9:42
[2] Everything That Lives Laments (Keith Jarrett) - 9:44
[3] Piece for Ornette (Keith Jarrett) - 9:32
[4] Take Me Back (Keith Jarrett) - 8:07
[5] Life, Dance (Keith Jarrett) - 2:59
[6] Song for Che (Charlie Haden) - 15:08

 A r t i s t s ,   P e r s o n n e l


Keith Jarrett - Piano, Flute, Percussion, Soprano Saxophone
Charlie Haden - Double Bass
Paul Motian - Drums, Percussion

Manfred Eicher - Producer, Remixing
Michael Naura - Radio Producer
Hans-Heinrich Breitkreuz - Engineer
Jan Erik Kongshaug - Remixing
Sascha Kleis - Design
Johannes Anders - Photography

 C o m m e n t s ,   N o t e s


2014 CD ECM Records - ECM 2422
2014 CD ECM Records - 470 4256

NDR-Jazz-Workshop 1972. Recorded live June 14, 1972 in Hamburg. Remixed July 12, 2014 at Rainbow Studio, Oslo

The legendary Keith Jarrett Trio, playing live at NDR Funkhaus, Hamburg. The trio with Haden and Motian formed in 1966 was Jarrett s first great band, his choice of players a masterstroke. With the bassist who had learned his craft in Ornette Coleman s band, and the drummer from Bill Evans s ground-breaking trio, Jarrett was able to explore the full scope of modern jazz, from poetic balladry to hard-swinging time-playing to ferocious and fiery free music, the improvisation including episodes with Keith on soprano sax. The interaction between the three musicians is uncanny throughout, reaching a peak in an emotion-drenched performance of Charlie Haden s Song for Che . ECM set up the 1972 tour of the Jarrett Trio, including the German radio concert from which this album is drawn. Manfred Eicher returned to the original tapes 42 years later, remixing the music for this edition in Oslo in July 2014, together with Jan Erik Kongshaug.



ECM are releasing for the first time on 21 November a previously unissued 1972 live recording, titled Hamburg ’72, featuring the stellar trio of Keith Jarrett, Charlie Haden and Paul Motian captured at the NDR Funkhaus in Hamburg in 1972. This band, who first played together in 1966, was Jarrett’s first great trio and features him on piano, soprano sax, flute and percussion on a programme that stretches from ballads and bop to free improv and includes an emotional performance of Haden’s ‘Song For Che’.

With such a highly creative rhythm section – Haden fresh from his work with Ornette Coleman, and Motian coming to prominence with Bill Evans’ groundbreaking trio – Jarrett explores his full musical range from exquisite balladry to wild free improv on soprano sax. The tour was set up by ECM and included this concert, which was recorded for German radio. Producer Manfred Eicher returned to the original tapes, remixing the music for this edition in Oslo in July 2014, together with Jan Erik Kongshaug, andwill be available online and in-store in the UK from Monday 24 November.

Mike Flynn - Jazzwise Magazine



With Sleeper: Tokyo, April 16, 1979 (2012) and Magico: Carta de Amor (2012), ECM Records began digging into its archives, unearthing two live recordings that revealed even more about a collection of artists whose reputations were already plenty secure as some of the label's most important from its early years—in the first case, pianist Keith Jarrett's Scandinavian-centric "Belonging Quartet," with saxophonist Jan Garbarek, bassist Palle Danielsson and drummer Jon Christensen; in the second, the Transatlantic trio of Norway's Garbarek, Brazilian pianist/guitarist Egberto Gismonti and American bassist Charlie Haden. Hamburg '72 is another significant find: a live recording that, unlike Sleeper and Carta de Amor, comes from a group that until now has never been documented on ECM but, like those 2012 sets, is another major winner that adds substantially to both the label's discography and the history of its participants.

Keith Jarrett's group with Charlie Haden and drummer Paul Motian—musicians who, with Ornette Coleman and Bill Evans in their respective pedigrees, provided the pianist with as much freedom to explore as he could handle—had already begun its move from the trio first heard on Life Between the Exit Signs (Vortex, 1968) into the quartet with saxophonist Dewey Redman that, ultimately known as his "American Quartet," debuted on two Atlantic albums released the previous year: El Juicio (The Judgement) and Birth. But when Manfred Eicher organized a 1972 European tour for Jarrett—who had already begun what would ultimately become an exclusive tenure on the producer's relatively nascent ECM Records label the year prior, with an instant classic, Facing You, along with a more curious duo date with drummer Jack DeJohnette, Ruta and Daitya—it was a trio tour that may well have been its last in that format, as Jarrett had already begun touring the US with Redman in tow.

Culled from an NDR Jazz Workshop radio recording from June 14, 1972, Hamburg '72 is as important for Eicher and Norwegian engineer Jan Erik Kongshaug's superb remix from the original multitracks as it is for the exceptional music itself. Motian's dark ride cymbal positively sizzles on the opening "Rainbow"—appearing here a full four years before showing up on the quartet's Byablue (Impulse!, 1976)—which gradually evolves from Jarrett's spare and lyrical a cappella introduction into a more powerful improvisational vehicle for the entire trio, demonstrating both a chemistry built over the course of five years as well as the unassailable magic of this particular evening.

"Everything That Lives Laments"—first heard on the trio's The Mourning of a Star (Atlantic) the previous year and later revisited on the quartet's Mysteries (Impulse!, 1975)—also shape-shifts, but this time from a brief balladic opening into a bass solo that, supported by Motian's chimes and bells, ultimately explores more folkloric territory when Jarrett rejoins, this time on wooden flute. The clarity and transparency of every instrument—including Jarrett's voice when he briefly sings along with his flute—is made all the more vivid by the trio's unfettered approach to taking what was originally a two-minute piece and turning it into a ten- minute epic journey that, when Jarrett returns to his piano and Motian his drums, traverses a broad dynamic expanse, with the pianist's firm touch something that is felt as much as it is heard.

While he's rarely given much credit for it, the nine-minute "Piece for Ornette"—this time featuring Jarrett alone, as opposed to the version on El Juicio that also includes Redman on tenor—suggests that Jarrett's relatively infrequent soprano saxophone work ought to be revisited. Here, bolstered by a "time, no changes" rhythm section where Haden anchors with near-running bass lines and Motian swings with a fire and intensity rarely heard, Jarrett is positively incendiary, sustaining lengthy rapid-fire lines, piercing multiphonics and searing screams.

"Take Me Back"—released the same year on his sole Columbia Records outing Expectations (1972) but, with guitarist Samuel T Brown and percussionist Airto Moreira in the mix, in a more clattering version— explores Jarrett's gospel predilections but, with Motian's exuberant punctuations piercing through Haden's simple but perfect support, is considerably more raucous and, consequently, joyous than his current Standards Trio. That's not a criticism of the pianist's longstanding group with bassist Gary Peacock and drummer Jack DeJohnette; only that Hamburg '72's trio at times sacrifices finesse for a more raw, unfettered and ultimately infectious energy that builds to a climax and then stops suddenly, leaving Jarrett alone to perform a segue that leads into the captivating "Life, Dance"—at just three minutes a brief miniature compared to the rest of the album's eight minute-plus tracks—that is the record's only previously unheard Jarrett composition, its sketch-like form creating the context for an in tandem bass and drums solo where Haden's robust, woody tone and resolute approach to simplicity and ultimate perfection in his every choice becomes one of the album's many highlights.

In fact, Hamburg '72 is a true milestone from the first of its 56 minutes to the last—a classic once lost, but now found again and sounding better than ever. A lengthy version of Haden's "Song for Che"—first heard on the bassist's classic Liberation Music Orchestra (Impulse!, 1969) and the only non-Jarrett original of the the set—closes Hamburg '72 on a particularly open-ended note, with Haden moving from visceral pizzicato to drone-based arco and Jarrett from piercing saxophone to more dramatically building piano, before Haden once again dominates and the 15-minute epic ends with a slow fade of Motian and Jarrett's percussion.

That Jarrett no longer engages in formal composition has been a subject for much discussion and debate in recent years. While his "from the ether" solo concerts and standards-based trio performances can rightly be considered spontaneous composition of the highest order, archival finds like Sleeper and Hamburg '72 do make the case for a certain loss when the pianist decided to put his writing pen down. While it seems unlikely that Jarrett will change his current stance, if ECM can continue to unearth recordings like the stellar Hamburg '72, there's hope that fans of Jarrett the composer—and Jarrett, the more freewheeling, reckless performer—will remain more than satisfied.

JOHN KELMAN - November 26, 2014
© 2014 All About Jazz



Hamburg '72, a remarkable archival find from the vaults of ECM Records, begins innocently enough with a piano melody from Keith Jarrett that dances about with the quiet immediacy of his masterful solo improvisation recordings. Then, as the rhythm section lightly falls into place, a lyrical stride emerges that recalls Jarrett's long-running Standards Trio.

Such instances, however, serve as the proverbial calm before the storm. This isn't a new work by the Standards Trio but a recording of a 42-year-old German radio broadcast at the NDR-Jazz Workshop with bassist Charlie Haden and drummer Paul Motian. Any pastoral suggestion is shattered by passages of free-style improvisation (with Jarrett on soprano saxophone), subtle Eastern instrumentation (with Jarrett on flute) and rich, churchy duets that place Haden in the driver's seat (with Jarrett bashing away on tambourine). Best of all, the music winds up sounding as though it was recorded last week.

ECM chieftain Manfred Eicher began work remixing the analog sources of Hamburg '72 in July — to be specific, the day after Haden's death. That's just the beginning of the coincidental time lines that run behind the scenes of this music. There is also the fact that this performance paralleled the 1972 release of Facing You, the solo piano record that began an alliance between Jarrett, Eicher and ECM that continues to this day. It also represents the trio's only showing on the label, although it appeared several times on ECM albums augmented by saxophonist Dewey Redman as a Jarrett band often referred to as the American Quartet.

That leaves us with an invaluable timepiece of a recording. Jarrett reveals an already complete piano voice during the lovely, low stroll of Take Me Back, first released on the 1972 Columbia album Expectations and one of four Jarrett originals featured in this performance. But the tune quickly builds into a playful, rolling trade-off with Haden marked by frequent punctuations from the pianist on tambourine. It nicely approximates gospel as well as loose, uproarious swing.

The interplay builds to a 15-minute workout of Haden's Song for Che, which runs from a percussion-accented solo by the composer full of elastic color to a scorched exchange led by intermittent screams from Jarrett on soprano sax. Then it's back to another merry piano outburst before returning to the same cricketlike chirping of bass and percussion that first distinguished the tune.

It's tempting to view this music as a eulogy to Haden or, for that matter, Motian, who died in November 2011. But even though Jarrett remains the trio's lone surviving torchbearer, the music of Hamburg '72 is the product of a group spirit rich with a jazz urgency that is truly ageless.

Walter Tunis - www.kentucky.com



Seit dem legendären Konzert, das auf »Hamburg ’72« zu hören ist, sind 42 Jahre vergangen. Da das Etikett ›legendär‹ gerade im Jazz fast inflationär vielen Einspielungen und Konzerten verliehen wird, sollte man es sich für diese Aufnahme mit Jarrett, Haden und Motian mit doppeltem Goldrand imaginieren. Das Trio spielte 1972 schon seit sechs Jahren zusammen, seit 1971 auch häufig als Quartett, erweitert um den Saxophonisten Dewey Redman. Es war die Zeit vor der solistischen Popularität Jarretts, sodass das Ereignis in Hamburg damals weniger Aufsehen erregte, als man heute vielleicht denken würde.

Für uns ist das Konzert auf »Hamburg ’72« ein Glücksfall, weil es unter der Ägide des NDR unter idealen Bedingungen stattfand und die Originaltonbänder professionell archiviert wurden. Der hohe Wert dieses Workshop-Konzerts kristallisierte sich erst retrospektiv heraus. Dank an Manfred Eicher, der das Originalmaterial mit Jan Erik Kongshaug in Oslo neu abmischte.

Das Trio um Keith Jarrett befand sich im Sommer 1972 auf Europa-Tournee. Das Zusammenspiel der drei Musiker funktioniert nach den gemeinsamen Jahren ›blind‹. Die gesamte Palette des modernen Jazz mit Status 1970er Jahre wird abgebildet. Das swingt mal entspannt, ist dann wiederum irrwitzige Free Music und durchgehend spannend. Vor allem das Spiel von Motian klingt für den Hörer unvorhersehbar einfallsreich. Für seine Mitspieler war es kontinuierliche Motivation.

Charlie Haden hat vor einigen Jahren in einem Interview berichtet, dass Jarrett zu jeder Probe und jedem Soundcheck neue Stücke für das Trio mitgebracht habe, die für seine beiden Kollegen Wertschätzung und Anregung zugleich bedeuteten. Das Ergebnis und der kreative Höhepunkt ist durch »Hamburg ’72« nun glücklicherweise dokumentiert. Ein Glück auch deshalb, weil das Trio insgesamt nur drei Alben einspielte: »Life Between The Exit Signs« (1967), »The Mourning Of A Star« (1971) und das Live-Album »Somewhere Before« (1968).



»... ausgewogen gemastert, kann man hier Weltklasse-Jazz hören, dem das Lustvolle (noch) nicht abhanden gekommen ist.«

stereoplay, Februar 2015



"Hamburg ‘72" bietet einen bisher unveröffentlichten Live-Mitschnitt von einem der großartigsten und prägendsten Piano-Trios des modernen Jazz.

Das Trio, das Keith Jarrett von 1966 bis 1971 mit Charlie Haden und Paul Motian unterhielt, ist eines jener Ensembles, deren wahrer Stellenwert erst retrospektiv richtig erkannt wurde. Sicherlich sorgte es schon damals bei Kritikern für gewisses Aufsehen, aber Jarrett erklomm den Gipfel seiner Popularität erst, nachdem er bei ECM Records eine Reihe brillanter Soloalben veröffentlicht hatte. Das allererste dieser Soloalben, "Facing You", war im November 1971 aufgenommen worden und erschien im April 1972. Drei Monate nach der Veröffentlichung  gastierte der Pianist im Rahmen der ersten Europa-Tournee mit seinem Trio im NDR-Funkhaus in Hamburg. Dabei wurden die Aufnahmen mitgeschnitten, die nun - über 40 Jahre nach ihrer Entstehung - unter dem Titel "Hamburg ‘72" erstmals auf CD vorgelegt werden. Das Trio, das zum Zeitpunkt der Aufnahme bereits seit fünf Jahren zusammenspielte, stand damals im Zenit seiner Kreativität.

Manfred Eicher griff auf die analogen Originalaufzeichnungen des NDR-Toningenieurs Hans-Heinrich Breitkreuz zurück und mischte diese im Juli 2014 zusammen mit Jan Erik Kongshaug in Oslo neu ab. Wie es der Zufall wollte, just einen Tag nach Charlie Hadens Tod. In Haden und Motian hatte Jarrett 1966 kongeniale Partner für sein Trio gefunden, mit denen er die ganze Bandbreite des modernen Jazz ausloten konnte: geradezu traumwandlerisch wechselte das Trio zwischen poetischen Balladen, kraftvoll swingenden Stücken und atemberaubenden freien Improvisationen, bei denen Jarrett teilweise zum Sopransaxophon griff. Viele Kritiker zogen Vergleiche mit der Musik von Ornette Coleman und Bill Evans. Was nicht überrascht, da Haden sein Handwerk im bahnbrechenden Quartett von Ornette Coleman gelernt hatte und Motian zuvor Mitglied des legendären Bill Evans Trios gewesen war.

Dennoch verlieh Jarrett der Musik seines Trios natürlich eine ganz eigene Handschrift. "Die Musik, die dieses Ensemble erschuf, gehört zu der großartigsten jener Epoche", meinte Charlie Haden vor einigen Jahren in einem Interview mit Ethan Iverson. "Keith hatte schon immer seinen eigenen Kopf und als Leader originelle Ideen. Er schrieb seine Stücke speziell für uns. Was mir ausgezeichnet gefiel. Er tauchte bei jeder Probe und jedem Soundcheck mit neuer Musik auf. Es ist fantastisch, wenn man beim Soundcheck ein neues Stück durchgeht und gar nicht erwarten kann, es beim Konzert am selben Abend zu spielen, weil man sich bereits mit ihm identifiziert."

Da dieses fabelhafte Trio nur drei Alben eingespielt hatte - "Life Between The Exit Signs" (1967), "Somewhere Before" (1968) und "The Mourning Of A Star" (1971) -, ist der spannende Live-Mitschnitt "Hamburg ‘72" weit mehr als nur eine willkommene Ergänzung. Keith Jarrett, Charlie Haden und Paul Motian im Zenit ihrer Kreativität.

© JazzEcho.de
 

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