Jarrett & Haden revisited
I like Keith Jarrett best when he’s forced to deal with vulnerability. Sometimes it’s his own, as in the exquisite solo album called The Melody at Night, With You, which he recorded at his home in 1998 when his store of energy was still depleted after two years of musical inactivity caused by a persistent condition called chronic fatigue syndrome (he talked about it to me the following year, and you can find the interview here). In the case of his new album, Last Dance, it’s that of Charlie Haden, his long-time friend and musical partner.
Jarrett’s virtuosity is undeniable. No doubt it was hard-won, and it has led him to some interesting places, but I prefer it when he has to think about music from another perspective. To me, that’s when his real musicality becomes apparent: when the essence, rather than the surface, is all there is.
Last Dance is the second release from sessions he and Haden conducted in 2007, when they played standard tunes together in the relaxed environment of Jarrett’s home studio in New Jersey. The first, titled Jasmine, was released four years ago and, like The Melody at Night, With You, found a large and appreciative audience (beguiled not least by a brief but glowing reading of Joe Sample’s “One Day I’ll Fly Away”). I think Last Dance is the better of the two.
Haden, who suffered from polio as a child, has encountered further health problems in recent years, including a couple of conditions, tinnitus and hyperacousis, related to his hearing. His playing is no longer as strong as it was when he strummed that famous solo on Ornette Coleman’s “Ramblin'” in 1959 or plucked the beautiful melody of his “Song for Che” on the classic Liberation Music Orchestra album 10 years later. When I listened to Jasmine on its release, I thought the signs of debilitation were evident: if his lines beneath Jarrett’s improvisations, were clear, they seemed to lack vitality.
I have no such problem with Last Dance. Whether it’s me, or whether Jarrett and Haden (or the executive producer, Manfred Eicher) selected tracks for the first release that expressed a certain mood, I can’t say. But the programming of the new album — including lengthy explorations of Kurt Weill’s “My Ship”, Monk’s “Round Midnight”, Richard Rodgers’ “It Might As Well Be Spring” and Cole Porter’s “Every Time We Say Goodbye”, with a change of pace on Bud Powell’s “Dance of the Infidels” — creates an ambiance that, while no less reflective, seems to possess a greater degree of intellectual vigour.
For evidence, compare the two versions of Gordon Jenkins’s “Goodbye”, one on each album. It’s probably my favourite song, as I wrote here last year, so I always listen to it with special interest. Whereas the reading on Jasmine didn’t move me greatly, and still doesn’t, this alternative take seems absolutely perfect, drawing out the finest eloquence from both men (and Haden in particular). Maybe it’s a matter of context: the choice and sequencing of tracks. Maybe it’s just a mystery. Whatever it is, Last Dance is a wonderful album. A small masterpiece, in fact.
* The photograph of Keith Jarrett and Charlie Haden is from the sleeve of Jasmine and was taken by Rose Anne Jarrett. Jasmine and Last Dance are on ECM Records.
This album just arrived in the post and I listened to it in my workshop today. It’s a beauty. Jarrett’s playing is mesmerising, maybe Haden’s is less so, but having read this piece now I know why, and it’s especially beautiful and next time I’ll listen more closely.
Wondered why Charlie wasn’t at the Ornette Tribute on Saturday night in Brooklyn. How sad.