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Classica, L’événement jazz du mois
Jazzman, Événement
Musica Jazz, Disco del mese

The postmillennial trio has a lighter attack and brighter spirit than the group did in its early phase, along with a greater sense of emotional balance; it’s contemplative but not ponderous, nostalgic but not mawkish or retro. My Foolish Heart nails this dynamic, seesawing between streamlined bebop and rueful ballads and flirting meaningfully with ragtime and stride.
Nate Chinen, The New York Times

There are nights when the performers simply click. One of those lightning flashes occurred in the Montreux Jazz Festival’s Stravinsky Auditorium in 2001. These two CDs capture that July night…
One of its pleasures is to hear the ultra-modernist Jarrett and mates return first to classics by Miles Davis and Sonny Rollins and then go even further back to stride and ragtime. … With Jarrett driving - and literally humming along with his solos in a high-pitched drone – you never know where you’ll end up. … The set includes two encores, including a humid “Only the Lonely” which is sufficiently gorgeous and tragic to get everyone out the door.
Karl Stark, The Philadelphia Inquirer

Pianist Keith Jarrett seems to have a never-ending hoard of top-dollar live recordings by his standard trio of bassist and drummer Gary Peacock and Jack DeJohnette. This two-CD set from the 2001 Montreux Jazz Festival finds them in a particularly buoyant mood, geed up, perhaps, by a litany of pre-performance technical difficulties. The trio vibrantly deconstruct a seminal mix of modern jazz classics and songbook standards, while three tracks of them toying with ragtime and stride make the recording unique.
Mike Hobart, Financial Times

Jarrett’s trio, if it has not already achieved it, is now reaching institutional status, it is music making at the highest level, and since their first sessions in 1983, the trio have remained a benchmark of excellence in jazz, not only in the art of the piano trio but also the art of improvisation. …
On this two-CD set, Jarrett works out on a series of jazz standards and standards of the American popular song- just what the world needs, you might think, another version of ‘On Green Dolphin Street’. But this one is indispensable, as is this set. Recorded live at the 2001 Montreux Jazz Festival, you sense the tension but also the joy of music making.
Stuart Nicholson, Jazzwise

The pianist has pulled this group to the edge of free-jazz at times, but if this performance stays close to songs, they’re not only Broadway standards and jazz classics such as Miles Davis’s Four and Monk’s Straight No Chaser, but also Fats Waller stride classics given a thumping ragtime momentum. Jarrett can be a solemn performer, but there’s a joyful bounce about much of this music. …
A beautifully weighted and sparingly distilled account of Only the Lonely closes a show that emphasises how much invention continues to be at this long-standing trio’s fingertips.
John Fordham, The Guardian

Diese Aufnahmen vom Liveauftritt des Trios 2001 beim Montreux-Festival sind eine Preziose und ein Muss. Standards wieder, diesmal aus Musicals oder von Miles Davis, Sonny Rollins und Thelonious Monk. In ihrer Summe definieren sie einen eigenen Standard. Der Blick geht vom Bebop weit zurück bis zu Rag und Stride. So viel Humor war nie im Triumvirat. Knapp zwei Lehrstunden Geschichtsaneignung.
Ulrich Steinmetzger, Rheinischer Merkur

Jarrett kostet die Melodien bekannter Songs aus, und in traumhafter Interaktion heben die drei ab, fliegen förmlich durch das Programm, wobei Jarrett den Piloten spielt. … Neben Stücken von Miles, Monk, Mulligan, Rollins sowie Songs, die eher zum Modern-Jazz-Repertoire gehören, spielen Jarrett und seine beiden Partner jetzt auch Fats Waller und „Waller-eskes“ – und zwar im Stride-Stil der 20er Jahre. Dieses Trio ist nach wie vor für Überraschungen gut.
Berthold Klostermann, Stereo

Dass diese 2001 live in Montreux eingespielte Doppel-CD so brillant klingt wie ein Schweizer Uhrwerk, war zu erwarten. Auch der Standard-Reigen vom balladesken „The Song Is You“ bis zu Monks „Straight, No Chaser“ in überbordender Spielfreude. Nicht aber drei Ragtimes, mit denen Jarrett erstmals den frühen Jazz beschwört. Prompt geistert Fats Waller derart lebendig durch die Stravinsky-Hall, dass einem ganz warm ums Herz wird. Klasse!
Sven Thielmann, Stereoplay