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Jasmine CD

18 customer reviews

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£15.11 & FREE Delivery in the UK on orders over £20. Details Only 6 left in stock (more on the way). Dispatched from and sold by Amazon. Gift-wrap available.

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Product details

  • Audio CD (10 May 2010)
  • Number of Discs: 1
  • Format: CD
  • Label: ECM
  • ASIN: B0038QGXHW
  • Other Editions: Audio CD
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (18 customer reviews)
  • Amazon Bestsellers Rank: 55,491 in Music (See Top 100 in Music)

1. For All We Know
2. Where Can I Go Without You
3. No Moon At All
4. One Day I'll Fly Away
5. I'm Gonna Laugh You Right Out Of My Life
6. Body & Soul
7. Goodbye
8. Don't Ever Leave Me

Product Description

Product Description

Jarrett and Haden are back together again 31 years after the break-up of Keith Jarrett's great 'American quartet'.

On Jasmine, pianist Jarrett and bassist Charlie Haden are reunited for an album of standards, played with deep feeling. The album features such classics as "Body and Soul", "For All We Know", "Where Can I Go Without You" and "Don't Ever Leave Me", as well as a rare Jarrett cover of a contemporary pop song--"One Day I'll Fly Away" (which Keith first heard Nicole Kidman sing in the film 'Moulin Rouge'). Certain to be a big hit with jazz fans, Jasmine's release coincides with Jarrett's 65th birthday.

Intimate, spontaneous and warm, the album was recorded at Jarrett's home and has affinities, in its unaffected directness, with Keith's The Melody At Night With You. As Keith Jarrett says in his liner notes: "This is spontaneous music made on the spot without any preparation...These are great love songs played by players who are trying, mostly, to keep the message intact."

Keith Jarrett and Charlie Haden go back a long way. Jarrett formed his first trio in 1966, while still a member of Charles Lloyd's group, and Haden was his first choice as bassist. In trio with Paul Motian they played together until 1971, when Dewey Redman was added on saxophones to complete the group now referred to as Jarrett's 'American quartet'. This ensemble recorded the classic albums The Survivors Suite and Eyes of the Heart. After the quartet finished in 1976, the musicians went on to many other remarkable projects, but they did not play together again until 2007, when Keith invited Charlie to stay at his house. They recorded for four days that March - playing mostly standards from the Great American Songbook.

Personnel: Keith Jarrett (piano), Charlie Haden (double-bass)

BBC Review

This is a noteworthy and historic release for several reasons. It is the first time Keith Jarrett and Charlie Haden have recorded as a piano-bass duo, coming a third of a century after they last recorded together in Jarrett's fine American Quartet alongside saxophone and drums. After a string of live albums from Jarrett, Jasmine is his first studio-recorded release in 12 years. Its release also coincides with his 65th birthday.

Jarrett and Haden were reunited in 2007 during recording of a documentary about the bassist. After they played together informally, Jarrett invited Haden home, where they spent four days recording in Jarrett's studio. Given their recent histories of recording standards–Jarrett with his Standards Trio, Haden with his Quartet West–they unsurprisingly opted for songs from the Great American Songbook.

Classics such as For All We Know and Goodbye are given straightforward readings without any overlong solos, conveying the essence of each song. Jarrett's piano explores the melodies but never strays too far away. Haden's full-bodied tone and immaculate sense of time underpin everything. These versions are easy on the ear, smooth enough to be played at dinner without being a distraction–Jarrett even keeps his trademark vocalizing relatively subdued. The music also amply repays close attention, revealing fresh facets every time.

A couple of the chosen songs will raise eyebrows. One Day I'll Fly Away, originally recorded by Randy Crawford, is given an effective reading which lingers on the distinctive melody without undue embellishment. In contrast, Body and Soul, much covered by generations of saxophonists, is rarely chosen by pianists. Jarrett delivers a prolonged exploration of it.

Throughout the album, their playing radiates the pair's spontaneous enjoyment of each other's company and of the songs. Although it may not be a word immediately associated with either of them, Jarrett and Haden sound as if they are having fun here. Both are now respected elder statesmen of jazz, long ago assured of their place in history and each with albums on those lists of "essentials". It may not be too long until Jasmine itself appears on such lists. --John Eyles

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Customer Reviews

4.1 out of 5 stars

Most Helpful Customer Reviews

33 of 34 people found the following review helpful By A. Zona on 11 May 2010
Format: Audio CD Verified Purchase
Jarrett might be more famous for his completely improvised piano concerts, but the Jarrett I prefer is the jazz pianist interpreting and improvising on standards, with his renowned trio (among my favourite releases Still Live, Live at the Blue Note, Whisper Not) as well as alone (The Melody at Night with You). Now I can add to my list of Jarrett favourites the beautiful Jasmine, an intimate, lyrical and gripping duo with the bass player in his 1967 to 1976 trio and quartet recordings, great Charlie Haden. Eight tracks, all well known standards plus a pop song, total time nearly 63 minutes, music made by the empathic interactions between the dreamy and graceful piano on one side and the solid and melodic bass on the other side. Unrestrained improvisations founded on reassuring harmonies and made by notes and silences. Not instant trills or virtuoso gimmicks, just subtly refined and stylish jazz. Recorded sound is gorgeous, as usual from the ECM label. If that matters, the Jarrett trademark sing-while-improvising is quite limited and not a real concern here.

Jasmine will probably have its place between the remarkable "1999 The Melody at Night with You" by Jarrett and the excellent "1997 Beyond the Missouri Sky" by Pat Metheny and Charlie Haden. Recommended if you prefer the more conventional and heartening jazz side of Keith Jarrett.
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8 of 8 people found the following review helpful By I. White on 10 Jun. 2010
Format: Audio CD Verified Purchase
Keith Jarrett is a pianist who creates opposing feelings with me. I dislike much of his original work,but love his sensitive treatment of standards. The combination of Jarrett and the bassist Charlie Haden is an atmospheric mix and produces what I look for in jazz - good improvisation with a structured outline.
"For all we know" sets a melodic standard which the rest of the tracks follow. The two players fit in with each other and my only criticism is the rather out of place vocal asides.
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4 of 4 people found the following review helpful By JPG on 1 Sept. 2010
Format: Audio CD
In the liner notes to 'Jasmine', Jarrett talks about beauty. And that is this album in a nutshell; beauty is the inspiration!

This album does not go down the route of 'smooth'/easy-listening jazz; the listener will not suddenly feel like they are waiting in a hotel lobby, or that their call is in a queue, waiting for the customer services department to answer. I feel that the music of 'Jasmine' is worth far more. Yes, I can understand why some listeners might be disappointed by the album's conservatism but in that case, they would do better to listen to another Jarrett/Haden collaboration.

'Jasmine' is an experience and conjours great feelings for me. I bought this CD after attending the 2010 Cheltenham Jazz Festival (UK); my father and I were coming down off the high created by the John Scofield Quartet, when I saw 'Jasmine'. Once home, I put it on the CD player and it was the perfect conclusion to an emotional weekend, full of beautiful music; Nikki Yeoh Trio with John Surman, Dave Holland with Pepe Habichuela, Carla Bley's Lost Chords and of course the Scofield group.

As a footnote; in the 1970s, the so-called 'American Quartet' (Jarrett and Haden, plus Dewey Redman and Paul Motian) produced a number of albums, eight of them with Impulse! Records. They have all since been remastered onto CD but six of them are currently only available in Japan! I trust that Verve Music Group/Universal will rectify the situation soon! 'Treasure Island' was reissued in 2009 and a 1999 edition of 'Fort Yawuh' is readily available.
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5 of 5 people found the following review helpful By G. Smith on 15 July 2010
Format: Audio CD Verified Purchase
This is beautiful music.

Haden has his detractors, but I'm a sucker for his deep woody tone and the spacious rhythms he creates. Keith Jarret - whisper it! - I can take or leave, as I've often found him a bit overcooked for my tastes. But he plays with a great sense of space here and a quiet dignity too. There is a lot of quiet invention by both players throughout this album.

A few quibbles though, I agree with other reviewers that the sound is a bit thin - Haden sounds quite recessed. And the usual caveat of Jarret's 'vocalisations' applies here - for me, annoying but do-able on this recording, unlike some of his solo performances :).

All in all, a good album, but not up to the standard of other Haden piano duos in my opinion - try his duos with John Taylor and Chris Anderson, both on the Naim label, and both these albums have much better sound too...
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10 of 11 people found the following review helpful By I. D. Graham on 10 Jun. 2010
Format: Audio CD
I was already a fan of Keith Jarrett. As a pianist myself, I actually attempt to play some transcriptions of his work. I first heard of this album via the blessed Dave Gelly of The Observer, and ordered it the same day. It is stunning. Just piano and bass, but you'd think at times it was a trio or quartet. The individual pieces are deeply-felt, and obviously long meditated; mostly without the pyrotechnics of some of KJ's concert stuff (both jazz and improvisations)- simple with the art that conceals art, lots of rich harmonic and rhythmic texture. KJ's own notes suggest that he sees the selection as a programme, both in terms of what he has released, and in its sequence on the CD. I can see that, but on the other hand, the quality is so focussed and intense that as the CD plays on there can be a sense of deja vu. Don't get me wrong - there is not a duff track here, but the set is perhaps a bit like a box of very rich chocolates - one or two at a time is really enough.
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