Search - Keith Jarrett :: Silence

Underacknowledged, excellent

Samuel Johnston | Baton Rouge | 10/18/2005

(5 out of 5 stars)

"I generally write no reviews for amazon but felt compelled to review this gem as there is onyl one review for it, and it is rated a mere three stars.



This album was recently recommended to me by a friend, and as I investigated, I was extremely intrigued by the lineup: Paul Motian, an incredible drummer notable for his work with the Bill Evans Trio; Charlie Haden, a terrific bassist who has worked with, among others, Ornette Coleman and Pat Metheny; and Dewey Redman, a saxophonist I had not been previously aware of, but who plays ably on this recording.



Anyway, the music: it is a wonderful, original blend of bop, free jazz, and a little bit of hard bop. It is the kind of album that is very pleasant as background music but is enjoyed best when one really listens to it and pays attention to the musicians.



I am reasonably knowleadgable when it comes to jazz, and I don't think I could name an album quite like this one. Lots of interesting melodies, great musicianship by a top notch band, and some great jams and solos. Highly recommended."

A good cd young great artists (Un buon disco ...)

Luca | ROME Italy | 12/11/2000

(3 out of 5 stars)

"In this 1977 disc, Keith Jarrett plays (piano and soprano sax) with Charlie Haden at bass, Paul Motian at drums and Dewey Redman at tenor sax. Ten of the eleven pieces are signed by these musicians: four are by Motian (of these the very nice "Trieste"), two by Jarrett (the agreeable "Rainbow" and "Bop-be"), but the most important is probably that "Silence" by Haden that gives the title at cd and will register the best credits in the years later. It's a pieces written in a very simple way, the repetition of a descending line of sixteen chord played very slowly; the leitmotiv is produced two times by all instruments with one voice, then other two times by the Jarrett's piano which stands out in soft, but really effective variations. That's all: three minutes, but three unforgettable minutes. "Silence" is placed in the midpoint of the series of pieces; it sounds like a sudden moment of meditation. The disc a very beautiful collection, al are really able, but Jarrett surely makes a good impression because the beauty of his touch and the sensivity of execution. The phrasing by which he makes precious "Blackberry winter" or the intensity by which he plays "Trieste" are between the things in this disc. At last , I bring to the attention the sound return of drums is often bad because technical reasons.UN BUON DISCO DI GIOVANI GRANDI ARTISTIIn questo disco del 1977, Keith Jarrett suona (piano e sax soprano) con Charlie Haden al basso, Paul Motian alle percussioni e Dewey Redman al sax tenore. Dieci degli undici brani portano la firma degli esecutori: ben quattro sono di Motian (tra cui il bellissimo "Trieste"), due di Jarrett (il gradevole "Rainbow" e "Bop-be"), ma il più notevole è probabilmente quel "Silence" di Haden che dà il titolo al disco e che otterrà i maggiori riconoscimenti negli anni a seguire. Si tratta di un brano dalla struttura semplicissima, il ripetersi di una linea discendente di sedici accordi scanditi con lentezza; il tema è presentato per due volte da tutti gli strumenti all'unisono, poi altre due volte con il piano di Jarrett che si stacca con delicate ma molto efficaci variazioni. Tutto qui: tre minuti, ma tre minuti che non si dimenticano. "Silence" è collocato in posizione centrale nella successione dei brani, tra i quali sembra quasi voler creare un inaspettato momento di riflessione. Nel complesso una raccolta molto piacevole, nel quale tutti sono davvero bravi, ma Jarrett sicuramente impressiona per la bellezza del tocco e la sensibilità interpretativa. Il fraseggio con cui impreziosisce "Blackberry winter" o l'intensità con cui esegue "Trieste" sono fra le cose migliori del disco. Segnalo infine che la resa sonora delle percussioni è spesso insoddisfacente per ragioni tecniche."