Last Dance features more music from the highly creative session at Keith Jarrett’s home studio which brought forth the much-loved Jasmine album. In this new selection Jarrett and Charlie Haden broaden the scope of the project to include jazz classics like Thelonious Monk’s “Round Midnight” and Bud Powell’s spritely “Dance Of The Infidels”, dazzlingly interpreted by the duo. Love songs are still to the fore, with tender versions of “My Old Flame”, “My Ship”, “It Might As Well Be Spring”, “Everything Happens To Me”, and “Every Time We Say Goodbye” as well as alternate takes of “Where Can I Go Without You” and “Goodbye”, every bit as touching as the Jasmine renditions. “When we play together it’s like two people singing”, said Jarrett of this reunion with Haden. The intentions of the song are honoured, the shades of meaning in a melody or a lyric explored instrumentally. As Charlie Haden put it, “Keith really listens, and I listen. That’s the secret. It’s about listening.”
FEATURED ARTISTS
TRACKLIST
A1 My Old Flame, Composed By – Arthur Johnston, Sam Coslow 10:14
A2 My Ship, Composed By – Ira Gershwin, Kurt Weill 9:34
B1 'Round Midnight, Composed By – Cootie Williams, Thelonious Monk 9:34
B2 Dance Of The Infidels, Composed By – Bud Powell 4:21
C1 It Might As Well Be Spring, Composed By – Richard Rodgers / Oscar Hammerstein II 11:55
C2 Everything Happens To Me, Composed By – Matt Dennis, Thomas Adair 7:10
D1 Where Can I Go Without You, Composed By – Peggy Lee, Victor Young 9:33
D2 Every Time We Say Goodbye, Composed By – Cole Porter 4:25
D3 Goodbye, Composed By – Gordon Jenkins 9:06
BACKGROUND
Here is a last dance, from partners of old. Keith Jarrett and Charlie Haden have made exceptional music together in a wide range of contexts. Haden was, with the late Paul Motian, a member of Jarrett’s first great trio, and recordings such as 1967’s Life between the Exit Signs already provided a map of territory to be explored. Jarrett’s early choice of partners was inspired: as a prodigiously gifted young player, he was liberated and challenged by his association with musicians of broader experience. And with Haden, the bassist of whom Ornette Coleman famously said “he plays the music, not the background”, Jarrett could go anywhere – from melodic free playing to original compositions to forays into the American songbook. That range of options widened still further when saxophonist Dewey Redman was added to the group, completing what has come to be regarded as one of the most influential bands of the era, Jarrett’s ‘American Quartet’ – heard on a string of releases including the classic ECM recordings The Survivors Suite and Eyes of the Heart (both recorded in 1976).
Haden was also featured – along with Jan Garbarek and Keith Jarrett himself – on Arbour Zena (1975), Jarrett’s ravishingly beautiful album of compositions for string orchestra and soloists (recently reissued – as LP, CD and high-resolution download – to a new round of critical acclaim). And when Haden came to make his first album as a leader with Closeness (1976), Jarrett was one of his duo partners.
After the disbanding of the American Quartet, the paths of Haden and Jarrett continued along parallel tracks. Both Jarrett, in his trio with Gary Peacock and Jack DeJohnette, and Haden in his Quartet West with Ernie Watts, Alan Broadbent and Larance Marable would look again at the world of standards from contemporary perspectives.
Early in 2007 Jarrett was invited to contribute some reminiscences to “Rambling Boy”, director Reto Caduff’s documentary about Haden. This led to some informal playing together, which both enjoyed greatly. Jarrett then invited Haden to come over to his home for four days of recording in March 2007. Out of this work came the album Jasmine and now Last Dance, with a programme selected by both participants.
The scope of the duo project is widened here to include jazz classics like Thelonious Monk’s “’Round Midnight” and Bud Powell’s spritely “Dance Of The Infidels”. Love songs, however, are to the fore in this selection, with tender versions of “My Old Flame”, “My Ship”, “It Might As Well Be Spring”, “Everything Happens To Me”, and “Every Time We Say Goodbye” as well as versions of “Where Can I Go Without You” and “Goodbye”, every bit as touching as the Jasmine renditions. “When we play together it’s like two people singing”, said Jarrett of his reunion with Haden. The intentions of the song are honoured, the shades of meaning in a melody or a lyric explored instrumentally. As Charlie Haden put it, “Keith really listens, and I listen. That’s the secret. It’s about listening.”
3 Reviews Hide Reviews Show Reviews
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THIS ALBUM AND "JASMINE" ARE CLASSICS IN THE PIANO/DOUBLE BASS TRADITION
This is an album you need to hear. No, listen to. Stop everything and take the time to listen to this gorgeous masterpiece from two musicians, both whom have a deep sense of life, of place, of time, of themselves,and each other as friends and musicians. This is a straight-up masterpiece full of beautiful melodies, and passages of subtleties from both players, together and in the individual solos embedded in these compositions. Jarrett plays with an insight, a reverence, and a deep intuitiveness. And occasionally just the right amount of brio. Haden (sadly now passed, a real loss to jazz and music in general) has a very deep feel for music, his chosen instrument, and these tunes. Nothing flashy, but his sound is always right there. There's a deep, organic, all encompassing feel to the sound of his double bass--a consummate musician on his chosen instrument. Picking high points is a waste of time. The entire album is a masterpiece. And you'll also need to listen to the album "Jasmine", originally recorded and released in 2010, and the sessions where this album's tracks were also recorded. One without the other? One album is enough? No. Both albums are equal in all areas--even the alternate recordings of two songs on this second album from those original sessions--are very worthwhile. Both alternates are very beautiful and an insight into how both players approached these compositions. Sadly, people don't have--or take-- the time to stop whatever they're doing, and just give their full attention to music of this caliber in this day and age. But to really hear what's going on, to begin to really understand Jarrett and Haden--both in a duo setting and as soloists in that context--you need to sit back and let this music sink into your head. Their playing, their choice of tunes--everything--is unassailable across both of these albums. As Jarrett said--hopefully you're listening to this music on a decent music system because all the subtleties are brought out much cleaner. So, adjust the volume up slightly and sit back.
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Jarrett’s interpretation-equals-composition ability is overt here
The Standards Duo returns with another selection of intimate songs. Last Dance conveys a different nuance from Jasmine. Considering being culled from the same 2007 session, it is very strange. Does this come from the variation of selected materials? Is it due to a difference in format, I’m hearing Jasmine in CD and Last Dance in vinyl, or owing to varied cutting technique? Here, they are enjoying playing together, feeling the approaching farewell. Listen to the beautiful sound they create in “My Ship” and “Everytime We Say Goodbye.” The album is poignant and romantic, drifting along in no particular rush. Jarrett swings jauntily, dropping staccato clumps with his left hand while Haden walks. It is gorgeous in its unhurried familiarity. Jarrett shows his real ability of interpretation-equals-composition in “My Old Flame” and “Round Midnight,” bringing out all the inherently poignant colors and melancholy. Haden sends out massive vivid sounds in “It Might As Well Be Spring” and “Everything Happens To Me.” “Where Can I Go Without You?” and “Goodbye” are back in alternative versions. The feel here is largely relaxed in the extremes. “Goodbye” in Jasmine touches us as a fancy night music. It laps around us with a beautiful fragrance of a night-blooming flower before sleep. “Goodbye” here sounds like funeral songs. Jarrett rings funeral bell like notes in the midst of Haden’s solo. Jarrett introduces his tour assistant’s comment on this duo in the obituary article of the Downbeat. “You guys are so together. If you played bass and Charlie played piano, you would play the same way.”
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Deeply Beautiful and So Sad....
This recording is deeply beautiful and so sad for me. I am a big fan of both Keith Jarrett and Charlie Haden. My music collection contains a total of 81 recordings by both as solo artists. Together, they are the definition of harmonious synchronicity and great affection for each other. The way they complement each other is my true definition of Jazz and plain old beautiful music. I will miss Mr. Haden and the enormous contributions that he made to Jazz and the world of music. "Last Dance" is a real testament to the beauty that he and Mr. Jarrett shared together. In a time when the world is in so much turmoil and everything seems so gray and complex, this recording adds a shimmering slice of beautiful sunlight to an otherwise gloomy day. Thanks ECM for timing this release so perfectly close to when I personally needed to hear it. I shed tears of Joy for Mr. Haden, his family and his circle of love and influence across the globe. He will be deeply missed. I thank God that he passed this way and found a true kindred spirit in Keith Jarrett. This music is beautiful and deserves to be heard by the masses! RIP and Peace!!!
