Survivor’s Suite - Keith Jarrett

Mar

9

Survivor’s Suite - Keith Jarrett

≡ Category: 1970s, Free Jazz, Post Bop, Recommended, Reviews |
≅ Written by: Michael Kydonieus

JAZZBO NOTES RECOMMENDED RECORDING

Rating:

Those people who like one aspect of Keith Jarrett’s style, such as his gospel playing, are out of luck on Survivor’s Suite. With Survivor’s Suite, you get a survey of all of Jarrett’s interests, from spiritual impressionism to free jazz to gospel, and even a touch of European classical music. True to it’s name, Survivor’s Suite includes just two tracks, Beginning and Conclusion, which incorporate all of these influences, flowing seamlessly in and out of one another.

The good news is, Survivor’s Suite is one of Jarrett’s better releases. There is nothing on Survivor’s Suite which is groan inducing, and much which is pleasurable.

You may want to take the above opinion with a grain of salt. After all, I think that Jarrett recorded only one indisputably great, stop-the-presses, desert island, Library of Congress worthy release in his entire carreer up to this point, which is Facing You. I also think his extemporaneous solo concerts are vastly overrated.

Anyway, Survivor’s Suite is a recording by Jarrett’s American quartet, which consisted of Jarrett, Dewey Redman on tenor sax, Charlie Haden on bass, and Paul Motian on drums. As is often the case, Jarrett plays a variety of instruments, including soprano sax, bass recorder, celeste, and Osi drums.

Jarrett starts off the album on bass recorder, with a sort of meandering spiritual impressionism that is reminiscent in tone to music of some indigenous peoples like the Andeans or the American Indians. It’s pleasant enough if not earth shattering. This gives way to some percussive noodling, with even Charlie Haden using his bass in a percussive manner. Then we get the first bonafide theme, which turns out to be modal, a minor mode with a flatted 6th. This goes on for awhile, and then we get a gentle gospel-ish theme from Jarrett, doubling on piano and celeste, with only Haden on bass accompanying him. This section is especially rewarding for fans of Facing You. This section leads into a rubato series of turnarounds for the entire band on which Dewey Redman’s tenor is prominently featured. When Redman’s tenor is exhausted, we get a restful interlude, a duet between Jarrett’s celeste and Charlie Haden’s bass.

I could go on, but I think you get the idea.

Conclusion, the 2nd part of the suite, begins with another theme, but soon dissolves into a raucous free jazz exploration of the materials. This part of Survivor’s Suite is guaranteed to scare pets and irritate girlfriends.

There’s a wealth of ideas on Survivor’s Suite, and an unusual amount of focus from Keith Jarrett, both as a soloist and as a composer. Not all of the ideas are of equal merit, but nothing is atrocious either. There isn’t any of the self-indulgent dithering we’ve come to expect from Keith Jarrett, which is a relief. The band works together beautifully. There’s no grandstanding, just each member contributing to agreed upon goals. Even Jarrett’s vocalisms, which have ruined many a recording, contribute to the success of Survivor’s Suite.

I would venture to say that even jazz fans who are dubious about the merits of Keith Jarrett’s eclecticism would enjoy Survivor’s Suite, and fans of the American quartet will be rewarded with one of the quartet’s best releases.