The Trio: A Circle of Trust
by Randy Burton
It’s been said that things come in threes. There are three bases, three strikes, three wise men, and, of course, three musicians. What’s unique about three musicians?
- Is it that they could be three equals?
- Is it that, because there are only three players, there’s nowhere to hide, and each player’s real talent, or lack of talent, is exposed?
- Is it that the trio setting is more demanding, resulting in more effort and stronger performances from its members?
I contend that it’s all of the above, and that the trio is perhaps the most compelling format in jazz performance. While the rhythm section is usually made up of drums and bass, the third member can be a pianist, organist, guitarist or other player or vocalist. The makeup really doesn’t matter. It’s the interplay and the trust among the musicians that makes the trio so special.
Ground-breaking Threesomes
From the bebop era forward, trios have played a significant role in jazz. Bud Powell, Bill Evans, McCoy Tyner, Keith Jarrett are some pianists that come to mind. Guitarists Joe Pass, John Scofield and Pat Metheny, among many others, have led ground-breaking trios. Then there are vocalists, with the piano and bass configuration, that are almost too numerous to mention.
The Trio Corner will showcase trio performances monthly beginning with the review below. Welcome to the Corner!
Keith Jarrett, Jack DeJohnette, Gary Peacock – “My Foolish Heart
Keith Jarrett’s latest release (on ECM) showcases his trio of 25 years, with equal billing going to drummer Jack DeJohnette and bassist Gary Peacock. Formerly called The Standards Trio, this group still specializes in performing standards from the great American songbook.
As DownBeat’s first installment of the The Trio Corner, why are these performances worth highlighting? It is the quality of the improvisations around these standards and the communication among these near-legendary performers.
A Live Recording
Recorded live at the Montreaux Jazz Festival in July, 2001, Jarrett chose this recording to release and coincide with the trio’s 25th anniversary. According to Jarrett’s liner notes, this recording “shows the trio at its most buoyant, swinging, melodic and dynamic. Now is the time to release it.” Kudos to producer and ECM founder Manfred Eicher for heeding Jarrett’s call.
Why The Trio?
In DownBeat’s November issue, Jarrett says he chose the trio format all those years ago to avoid another chordal instrument from muddying the mix. “It’s like Japanese flower arrangements. You put a fourth flower in and it looks weird.” He adds in the liner notes, “There is a trust between us that is hard to beat.”
Ragtime, Show tunes, Bebop
The two-CD set includes songs by Miles Davis, Sonny Rollins, Oscar Hammerstein and Jerome Kern, Thelonious Monk, Gerry Mulligan and even Fats Waller.
The 13 cuts across range from ragtime and show tunes to bebop.
Miles Davis’s “Four” starts off with the recognizable Miles melody but quickly moves into improvisation powered by DeJohnette’s churning snare and cymbal work and bass drum polyrhythms. Jarrett’s annoying scat singing is at a minimum but can be heard nonetheless. Peacock’s bass playing is highly supportive and only comes to the forefront during his solo, which seems carefully structured off of the melody.
The title track, “My Foolish Heart,” starts as a rich chordal solo reminiscent of Bill Evans, but then develops into a single-note melodic rendition featuring strong interplay with bass and drums. This performance captures the essence of the classic piano-bass-drums jazz trio.
The Sonny Rollins composition, “Oleo,” sounds like it needs Sonny’s sax. Jarrett’s single-note blues doesn’t quite work; then DeJohnette’s machine kicks in. At that point, the piece comes alive as an almost free-form blast of notes, held together by Peacock. DeJohnette is clearly the man in charge on this cut.
“What’s New” is an easy listening standard. I wonder why Jarrett played such a schmaltzy song? It is a standard, so I guess that makes it fair game. Still, he makes some creative stabs, including a funny insert of the “Lullaby of Birdland” melody that actually works.
“The Song is You” showcases the Jarrett that many know as the blazingly fast, accurate, lyrical player with a rock bent. This 1934 show tune is transformed into a real rocker.
Having Fun with Fats Waller
Fun times begin with a rendition of “Ain’t Misbehavin’” that would make Fats Waller proud. Sounds a little like Art Tatum at the bench, wailing away with all fingers engaged. Couldn’t be any more fun and fiery. DeJohnette’s strong brush work, Peacock’s old-fashioned but authentic solo and Jarrett’s flights up and down the keyboard will make your mouth drop.
CD number two (that is almost impossible to identify on the label) begins with another Fats Waller tune, “Honeysuckle Rose.” The approach is similar to “Ain’t Misbehavin’,” but with a less recognizable melody. The real showman here is DeJohnette with his New Orleans style rim shots and snare rolls.
Scat Singing Returns
“You Took Advantage of Me,” a 1928 Rogers and Hart composition, features fiercely creative piano work that comes with a price: Jarrett’s scat singing and moaning. Some of the moaning is a little strange and out of place. By contrast, Peacock’s bass solo is civilized and expertly executed.
Thelonious Monk’s classic “Straight, No Chaser” opens with the familiar line, then Peacock takes over with a solo that weaves the melody through some blissfully fat tones. Jarrett’s playing reminds me of his days in the 70’s with his ground-breaking quartet that included Dewey Redman, Charlie Hayden and Paul Motian.
Pre-911 2001
If there’s a theme in this collection–And why not? It was all recorded on the same day– it is that the music is fun, lively and almost celebratory. 2001 was a year filled with tragedy, but this performance was recorded that summer, before the world seemed to change forever on September 11th. You can feel the pre-911 carefree, whimsical, innocent spirit in this music.
Gerry Mulligan’s “Five Brothers” captures that whimsical spirit beautifully. From DeJohnette’s high-hat spankings to Jarrett’s playful major-seventh and sixth chords, it’s a joy.
The Power of the Melody
The power of Jarrett’s lyrical touch cannot be underestimated. “Guess I’ll Hang My Tears Out to Dry” is the most moving song on this collection. These three players melt together as if they were a lava lamp flowing in the mellow light. Brushes and ride cymbals frame the melody painted by masterful bass and ivory work.
“On Green Dolphin Street” is one of the most recorded jazz tunes ever written. The trio’s interpretation moves along like most of their other takes, with style and sophistication. Most of the way, it’s pure improvisation; the tune’s hardly recognizable.
Sammy Cahn co-wrote “Guess I’ll Hang My Tears Out to Dry,” along with the final cut, “Only The Lonely.” It’s clear why Jarrett and company chose these songs. They both resonate with wistful lyrical melodies that would make the setting for a perfect movie scene where the lovers tell each other “I Love You.” What more can be said?
A Fitting 25th Anniversary
And what more can be said about “My Foolish Heart”? It’s a fitting silver anniversary celebration for 25 years of trust among Jarrett, DeJohnette and Peacock. “My Foolish Heart” illustrates the strength and power of the trio setting with three of the jazz world’s most accomplished players.
Rating: ****1/2
The Trio Corner’s Rating Guide:
**** Great Performance, Highly Recommended
**** Good performance, recommended
*** Solid performance, may appeal to many
** May appeal to some
* Don’t bother
Track Listing, CD1: “Four,” “My Foolish Heart,” “Oleo,” “What’s New,” “The Song Is You,” “Ain’t Misbehavin’.” CD2: “Honeysuckle Rose,” “You Took Advantage of Me,” “Straight, No Chaser,” “Five Brothers,” “Guess I’ll Hang My Tears Out to Dry,” “Green Dolphin Street,” “Only The Lonely.” ECM 2021/22.
Next Month in The Trio Corner, Pat Metheny talks about his upcoming Pat Metheny Trio release, “Day Trip,” with Christian McBride and Antonio Sanchez.
Comments or Questions about The Trio Corner? Contact me at harcourtguitar@yahoo.com.
