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BBC Music Magazine, Jazz Choice
Classica, Choc
Musica Jazz, Disco del mese

Haden is best known as a minimalist who – especially on ballads – locks into the loam, relishing the space surrounding each fat, substantial note. Jarrett seems to respond in kind, channelling Haden’s playing into his own fluid, lyrical lines. The result is by turns a ravishing and reflective musical encounter with two of jazz’s greatest instrumentalists, who are getting along famously again.
Josef Woodard, JazzTimes

This is a wonderful disc that is not just for jazz fans.
Colin Morris, The Dominion Post NZ

As a concept, these piano-and-bass explorations of eight classic American songs could not be simpler, but the poise and subtlety of both thought and execution make it a spell-binding experience. Jarrett has a remarkable talent for creating an aura of stillness around him, so that every note he plays stands out clear and bright and the slightest harmonic nuance carries meaning. Haden’s bass, with its intimate, woody tone, lays the perfect groundwork, as always.
Dave Gelly, The Observer

It is more than 30 years since they last recorded together, but their dialogue has the detailed intimacy of old friends exploring common themes.
Mike Hobart, Financial Times

It’s an intimate, home-studio recording of love songs – deep, almost painfully heartfelt – and so good it will be sure to top most best-of-lists … If you buy only one album this year...
Phil Johnson, Independent on Sunday

Throughout, the duo operates in a comfort zone that values felicitous melody and openhearted sentiment over displays of bravado. Jasmine is as unashamedly expressive a recording as either man has ever made.
Steve Futterman, The New Yorker

Standards aus dem Real Book,… still, schön und so bescheiden, dass die Soli nie wie Soli wirken, sondern wie ein selbstverständlicher Teil der Songs. Als spazierten die Melodien nach all den Jahrzehnten einfach weiter, um zu schauen, was hinterm letzten Akkord liegt. … Jasmine klingt nun wie ein zarter Abschiedsbrief.
Alex Rühle, Süddeutsche Zeitung

Jasmine ist tatsächlich eine verträumte Nachtmusik. Das Interplay wirkt ruhig, gelassen und schlafwandlerisch sicher. Dabei hatten die beiden jahrzehntelang nicht zusammen musiziert. … Die Partner mochten die Kompositionen – alte, eher selten gespielte Standards… - nicht groß variieren, dekonstruieren. Sie ließen sich auf die musikalische Vorgabe quasi wie auf ein momentanes Schicksal ein. Statt die Stücke zu verfremden, verklären sie diese.
Uli Bernays, Neue Zürcher Zeitung

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