01. Questar  
02. My Song 
03. Tabarka
04. Country          play
05. Mandala 
06. The Journey Home

Personnel:
Keith Jarrett  - Piano, Percussion
Jan Garbarek - Tenor and Soprano Saxophones
Palle Danielsson - Bass
Jon Christensen – Drums

Recorded at Talent Studios, Oslo, Sweden in November 1977.

Throughout the '70s Keith Jarrett maintained two contrasting ensembles, one American based, the other Scandinavian. This is an album by the latter quartet, which had previously recorded the warm and winning BELONGING in 1974.

1978's MY SONG is aptly titled, as the six Jarrett compositions do indeed have the individual characteristics and bearing of songs. Infused with elements of folk and gospel, the music has a friendly resonance that aligns it with the likes of Horace Silver. While not as overtly soulful as Silver, the quartet's interpretations celebrate the power of melody and harmony. Garbarek's crystalline tone in particular flies through the rhythmic architecture like a bird over a winter landscape.

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A1 	Lisbon Stomp 	6:02
A2 	Love No. 1 	6:11
A3 	Love No. 2 	4:27
A4 	Everything I Love	4:30
B1 	Margot 	3:43
B2 	Long Time Gone (But Not Withdrawn) 	4:51
B3 	Life Between The Exit Signs 	6:48
B4 	Church Dreams 	6:15

Keith Jarrett (piano)
Charlie Haden (bass)
Paul Motian (drums)

Not long after recording '66's Buttercorn Lady with Art Blakey, and Dream Weaver , which signalled the beginning of his association with Charles Lloyd's hugely popular quartet, pianist Keith Jarrett was encouraged by Lloyd producer George Avakian to make his first recording as a leader. Jarrett's immediate popularity in Downbeat 's Readers poll for that year was instrumental in his being able to attain complete artistic freedom, a characteristic that has ultimately defined his entire career. Life Between the Exit Signs finds a nascent Jarrett wearing some of his primary influences on his sleeve—Bill Evans, Paul Bley and Ornette Coleman most notably—but, even so, many of his defining qualities as a distinctive player are already in evidence.

Beginning an association with bassist Charlie Haden and drummer Paul Motian that was to last for nearly ten years, Jarrett demonstrates a penchant for overt lyricism on "Margot" and "Love No. 1," a somehow distinctly American flavour on "Lisbon Stomp," and free playing on the title track and "Love No. 2," which follow the Ornette Coleman modus operandi of structured themes leading into completely open improvised sections. He even covers one standard, Cole Porter's "Everything I Love," to show his love of the Great American Songbook, a characteristic that would, of course, be brought to greater fruition with his now twenty-year old Standards Trio with Gary Peacock and Jack DeJohnette.

Haden, having already spent a good deal of time with Coleman, brings a strong sense of adventure coupled with a clear sense of history and tradition. Motian, at that time better known for his more subdued work with Bill Evans, gets the opportunity to play in a looser setting, displaying his abilities as textural player and colourist that would gain him a greater reputation in years to come.

But as strong as Haden and Motian are as musical personalities, it is Jarrett who clearly shines on this recording. Less concerned with some of the more odd choices that he made in the mammoth '70 session that resulted in three intriguing but largely uneven recordings— The Mourning of a Star, El Juicio and Birth —this is a more straightforward session that, while perhaps less widely experimental, ultimately succeeds as a more consistent document of where Jarrett came from and who he was ultimately to become. Life Between the Exit Signs is a remarkable first outing from a pianist who has inarguably become as important as his sources, moving the tradition forward while at the same time maintaining a clear reverence for it. ---John Kelman, allaboutjazz.com

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Disc 1:

01. Rio Part I (8:41)
02. Rio Part II (6:53)
03. Rio Part III (6:00)
04. Rio Part IV (4:14)				play
05. Rio Part V (6:26)
06. Rio Part VI (7:01)

Disc 2:

01. Rio Part VII (7:29)
02. Rio Part VIII (4:58)
03. Rio Part IX (5:03)
04. Rio Part X (5:02)
05. Rio Part XI (3:20)				play
06. Rio Part XII (6:10)
07. Rio Part XIII (7:04)
08. Rio Part XIV (5:41)
09. Rio Part XV (6:34)

Keith Jarrett – piano

If music is a reflection of where we live, it must also be a reflection of where we are at any given moment. As much as the undercurrent redolent of an artist's home can often be heard, a live performance can equally draw inspiration from where it is, especially if it's a place with its own musical tradition. There's little doubting the intrinsic Americanism of pianist Keith Jarrett on Rio—his first solo piano recording since Testament (ECM, 2009), where two largely dark performances drew on a difficult time in the pianist's personal life—but equally, there's no mistaking the Brazilian joie de vivre that informs this 90-minute concert from April, 2011, turned around with uncharacteristic speed by ECM in just six short months.

That's not to say Jarrett has left the dark side entirely behind. Opening this concert of fifteen improvised miniatures with "Part I," the pianist doesn't make it an easy entry point for his audience, contrapuntal angularities ebbing and flowing with quirky stops and starts and temporal swings and sways, but largely pushing relentlessly forward during its entire 8:40 duration. "Part II" provides welcome relief, though its brooding ambiance remains more closely aligned to contemporary classicism than a specific jazz vernacular.

Things shift with "Part III," however, as Jarrett begins to pull a more definitive song form from the ether, the sound of his stomping foot creating its own rhythmic energy as the pianist builds changes that begin to reflect his South American surroundings, while a passing reference to "As Time Goes By" acts as a foundational motif for the rubato "Part IV." Even as hints of dissonance abound throughout, the mood continues to brighten, as Jarrett demonstrates the encyclopedic knowledge that's always at the core of his muse, though with his stream-of-consciousness approach it's never possible to predict just where that knowledge will take him.

In the case of "Part VIII," it's a buoyancy that could easily be heard in Egberto Gismonti's repertoire, though Jarrett's unfailing melodism is born more of the city than the rougher Amazonian jungles that often inform the Brazilian pianist/guitarist's music. The cascading notes of "Part IX" are closer to the rainforest, however, while "Part XI" returns the pianist to his home, as funky and straightforward a blues as he's ever played.

Since his bout with Chronic Fatigue Syndrome in the 1990s scuttled his well-known continuous improvisational marathons, Jarrett has opted, instead, for a more individual and self-contained approach to solo piano performance. With so many landmark recordings on ECM—ranging from 1972's Facing You to 2006's The Carnegie Hall Concert, with its controversial applause—it's become pointless to assess each subsequent recording in terms of "good, better, best"; instead, each set, carefully chosen from the half-dozen or so shows he does each year, occupies its own space, with its own points of recommendation. Rio, despite some hints of darkness, is a most joyous and lyrical set, and one that finds the perfect nexus of where Jarrett lives and where Jarrett is. ---John Kelman, allaboutjazz.com

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CD 1
Standards Vol. 1
1. Meaning Of The Blues 9:23
2. All The Things You Are 7:44
3. It Never Entered My Mind 6:45
4. The Masquerade Is Over 5:57          play
5. God Bless The Child 15:32

CD 2
Standards Vol. 2
1. So Tender 7:15
2. Moon And Sand 8:59
3. In Love In Vain 7:07
4. Never Let Me Go 7:49
5. If I Should Lose You 8:29
6. I Fall In Love Too Easily 5:12

CD 3
Changes
1. Flying Part 1 16:03
2. Flying Part 2 14:45
3. Prism 6:31                           play

Keith Jarrett, piano
Gary Peacock, bass
Jack DeJohnette, drums

It's hard to believe that Keith Jarrett's "standards" trio, with bassist Gary Peacock and drummer Jack DeJohnette, has been around for a quarter of a century. It's not just the pianist's longest lasting ensemble, but one of most permanent line-ups in jazz history.

To celebrate the occasion, ECM Records has released Setting Standards: New York Sessions, a three-CD set which brings together the entire output of the trio's first session, a remarkably fruitful one that resulted in not one, not two, but three releases—Standards, Vol. 1 (ECM, 1985), Standards, Vol. 2 (ECM, 1985) and Changes (ECM, 1984). The box set also includes a new essay, "The Art of Metamorphosis," by Peter Rüedi, and previously unpublished photos—past and present.

When the trio convened at New York's Power Station studio in January, 1983, they had actually intersected once before, on Peacock's classic Tales Of Another (ECM, 1977). But while Peacock's session was a set of all-original compositions by the bassist, Jarrett's consisted largely of standards culled from the Great American Songbook. It's unlikely that they could have predicted that not only would they still be making music together twenty-five years later, but that they'd still be making vital music largely based on a standards repertoire, with My Foolish Heart (ECM, 2007) being one of the finest live sets the trio has released, nearly on par with its touchstone live album, Still Live (ECM, 1988).

It's important, when reassessing this music, to consider the musical climate at the time. By 1983, an emerging backlash against the more experimental nature of 1960s and 1970s jazz was creating a new neo-conservatism, bolstered by emerging "young lions" including Wynton Marsalis. It might even be possible to consider Jarrett's move away from more overtly experimental works like the all-organ Invocations/The Moth And The Flame (ECM, 1981) and classically informed The Celestial Hawk (ECM, 1980) to be intentionally aimed at capturing some of the audience buying into a growing revisionist and reductionist jazz view, but that would be a mistake.

That Jarrett was giving up on formal writing was monumental enough to some, especially considering the consistently strong songbook he"d built with both his American and European Quartets of the 1970s—especially the latter, which was responsible for classic albums like the compositionally rich Belonging (ECM, 1974). But while Jarrett, Peacock and DeJohnette chose to tackle a repertoire of largely familiar material, from the very beginning their approach to it was anything but conventional, a key defining point that continues to this day.

Yes, this is a trio that can swing with the best of them, and approaches the material with no short supply instrumental prowess. But the same stream-of-consciousness freedom and attention to space that has imbued solo piano performances like the best-selling The Koln Concert (ECM, 1975) can be heard in Jarrett's trio, and its approach to well-heeled songs like the curiously light-yet-fiery "All The Things You Are." Sure, there's a defining set of changes, but when one considers the profoundly lyrical "Meaning Of The Blues"—controversial in itself as the opener to Standards, Vol. 1 by conveying the power of the trio through understatement and subtlety—and the more propulsive but no less thematically attentive "So Tender," which opens Standards, Vol. 2, it becomes clear that this is not a trio simply running down the changes.

In fact, while there are those who see structure as an inherently limiting construct, Jarrett's trio clearly views it as liberating. Rather than defining precisely how a song should be played, form provides nothing more than a common meeting place for the trio's conversation-like interplay. But unlike many free players who use it as a starting point that is quickly abandoned, this trio never loses sight of a song's framework. Freedom need not imply the abandonment of pulse, melody or harmony, a concept made abundantly clear in the climactic closer to Vol. 1, a fifteen-minute, gospel-tinged version of "God Bless The Child" that grooves hard, but provides not just ample delineated solo space for everyone, but the kind of infectious group interaction that set the bar high for this group from the get-go.

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01 - Part I 
02 - Part II a 
03 - Part II b 
04 - Part II c

Keith Jarrett - solo piano

Recorded in 1975 at the Köln Opera House and released the same year, this disc has, along with its revelatory music, some attendant cultural baggage that is unfair in one sense: Every pot-smoking and dazed and confused college kid -- and a few of the more sophisticated ones in high school -- owned this as one of the truly classic jazz records, along with Bitches Brew, Kind of Blue, Take Five, A Love Supreme, and something by Grover Washington, Jr. Such is cultural miscegenation. It also gets unfairly blamed for creating George Winston, but that's another story. What Keith Jarrett had begun a year before on the Solo Concerts album and brought to such gorgeous flowering here was nothing short of a miracle. With all the tedium surrounding jazz-rock fusion, the complete absence on these shores of neo-trad anything, and the hopelessly angry gyrations of the avant-garde, Jarrett brought quiet and lyricism to revolutionary improvisation. Nothing on this program was considered before he sat down to play. All of the gestures, intricate droning harmonies, skittering and shimmering melodic lines, and whoops and sighs from the man are spontaneous. Although it was one continuous concert, the piece is divided into four sections, largely because it had to be divided for double LP. But from the moment Jarrett blushes his opening chords and begins meditating on harmonic invention, melodic figure construction, glissando combinations, and occasional ostinato phrasing, music changed. For some listeners it changed forever in that moment. For others it was a momentary flush of excitement, but it was change, something so sorely needed and begged for by the record-buying public. Jarrett's intimate meditation on the inner workings of not only his pianism, but also the instrument itself and the nature of sound and how it stacks up against silence, involved listeners in its search for beauty, truth, and meaning. The concert swings with liberation from cynicism or the need to prove anything to anyone ever again. With this album, Jarrett put himself in his own league, and you can feel the inspiration coming off him in waves. This may have been the album every stoner wanted in his collection "because the chicks dug it." Yet it speaks volumes about a musician and a music that opened up the world of jazz to so many who had been excluded, and offered the possibility -- if only briefly -- of a cultural, aesthetic optimism, no matter how brief that interval actually was. This is a true and lasting masterpiece of melodic, spontaneous composition and improvisation that set the standard. ---Thom Jurek, Rovi

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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. Intro - I'm Gonna Laugh You Right Out Of My Life
6. Body And Soul
7. Goodbye
8. Don't Ever Leave Me

Keith Jarrett – piano
Charlie Haden – bass

The reason to mention the "particulars" of this document of informal sessions is because Keith Jarrett went to the trouble of doing so in his liner notes: they came about in the aftermath of he and Charlie Haden playing together during Ramblin' Boy, a documentary film about Haden. The duo, who hadn't played together in over 30 years, got along famously and decided to do some further recording in Jarrett's Cavelight home studio without an end result in mind. The tapes sat -- though were discussed often -- for three years before a decision was made to release some of them. Jasmine is a collection of love songs; most are standards played by two stellar improvisers. Picking out highlights on this eight-song, hour-long set is difficult because the dry warmth of these performances is multiplied by deeply intuitive listening and the near symbiotic, telepathic nature of the playing. The entire proceeding flows seamlessly. The depth of emotion in Peggy Lee's and Victor Young's "Where Can I Go Without You" opens the world of the bereft lover -- and Haden's solo seems to make her/him speak. Jarrett's intro to "I'm Gonna Laugh You Right Out of My Life," by Cy Coleman and Joseph McCarthy, reveals in its lyric just how woefully ironic this tune is. The loss and reverie steeped in false bravado are expressed in Jarrett's arpeggios and underscored by Haden's emphasis on single notes during the changes and a deep woody tone he gets in the combination of skeletal flourishes during Jarrett's solo. On the surface it might seem that the inclusion of Joe Sample's "One Day I'll Fly Away" is an odd inclusion; yet it acts on some level as the hinge piece for the set. Its simplicity and sparseness are offset by the profound lyricism Jarrett imbues it with. Haden asserts, quietly of course, that the complex emotions in the tune go beyond any language -- other than music's -- to express. After a devastatingly sad reading Gordon Jenkins' "Goodbye" with Jarrett at his most poignant and clean, a brief reading of Jerome Kern's and Oscar Hammerstein's "Don't Ever Leave Me" closes the set. The way it's played, this tune is not a plea, but a poetically uttered assertion between lovers. Jasmine is, ultimately, jazz distilled to its most essential; it not only expresses emotion and beauty, but discovers them in every moment of its performance. ---Thom Jurek, Rovi

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1.  Bye Bye Blackbird (Ray Henderson) 11:11
2.  You Won't Forget Me (Kermit Goell/Fred Spielman) 10:42
3.  Butch And Butch (Oliver Nelson) 6:37
4.  Summer Night (Al Dubin/Harry Warren) 6:38
5.  For Miles (Keith Jarrett/Gary Peacock/Jack DeJohnnette) 18:39
6.  Straight No Caser (Thelonious Monk) 6:44
7.  I Thought About You (Jimmy Van Heusen/Johnny Mercer) 4:01
8.  Blackbird, Bye Bye (Keith Jarrett/Gary Peacock/Jack DeJohnnette) 3:00

Keith Jarrett (Piano)
Gary Peacock (Bass)
Jack DeJohnette (Drums)

This is the Keith Jarrett Trio's -- featuring bassist Gary Peacock and drummer Jack DeJohnette -- elegy for their former employer Miles Davis, recorded only 13 days after the maestro's death. The lonely figure in shadow with a horn on the cover contrasts with the joyous spirit of many of the tracks on this CD, yet there is still a ghostly presence to deal with -- and in keeping with Miles' credo, Jarrett's choice of notes is often more purposefully spare than usual. There is symmetry in the organization of the album, with "Bye Bye Blackbird" opening and the trio's equally jaunty "Blackbird, Bye Bye" closing the album, and the interior tracks immediately following the former and preceding the latter are "You Won't Forget Me" and "I Thought About You." The centerpiece of the CD is an 18-and-a-half-minute group improvisation, "For Miles," which after some DeJohnette tumbling around becomes a dirge sometimes reminiscent of Miles' own elegy for Duke Ellington, "He Loved Him Madly." As an immediate response to a traumatic event, Jarrett and his colleagues strike the right emotional balance to create one of their more meaningful albums. --- Richard S. Ginell, Rovi

Pierwsza edycja tego krążka miała miejsce w 1993 roku, ale nagranie odbyło się już 12 października 1991 roku w Nowym Jorku. Mamy tu do czynienia z mainstreamem jazzowym w krystalicznym wydaniu. Osiem standardów wykonanych wówczas w Power Studio przez to trio niesie ogromny ładunek emocjonalny i zachwyca inwencją jego autorów. To najwyższa jakość interpretacyjna, intelektualna i ekspresyjna, jakie pojawiają się w procesach improwizacyjnych. Jarrett, Peacock i Jack DeJohnette jeszcze raz potwierdzają swój ogromny wkład w poszerzanie granic jazzowego tria fortepianowego. W swoim rodzaju dzieło doskonałe. --- Piotr Kałużny, jazzforum.com.pl

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1. El Juicio	15:17
2. Moonchild	7:50
3. Follow the Crooked Path	6:23
4. Standing Outside	5:47
5. Bring Back The Time When (If)	7:31

Keith Jarrett – piano, flute, saxophone, percussion
Charlie Haden – bass
Paul Motian - drums

June 14th 1972, NDR Studio 10
Hamburg, Germany

This album captures Keith Jarrett on German radio in 1972, shortly before his landmark solo gig in Cologne. It’s an unbridled excursion for the mindblowingly intuitive trio of Jarrett, bassist Charlie Haden and drummer Paul Motian. Jarrett plays flute and wild soprano saxophone at times, and there’s plenty of piano virtuosity, full of typically slashing long lines and methodical buildups, some gospel-like Jarrett funk (Take Me Back), and slowly massaged ballads. Haden and Motian constantly anticipate him. The tonal freedom and uninhibitedness give this set a different kind of power – audible in Jarrett’s Coleman-phrased soprano-sax solo over Haden’s hurtling bass-walk on Piece for Ornette, and the long multiphonic howls against dissonant bowed-bass chords and Motian’s slams and rattles on the intense Song for Che. It’s the remarkable work of a trio in tune with each other – and with the spirit of their time. -- John Fordham, theguardian.com

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CD1
1. Bouncing With Bud	7:31
2. Whisper Not	8:04                        play
3. Groovin' High	8:29
4. Chelsea Bridge	9:46
5. Wrap Your Troubles In Dreams	5:46
6. 'Round Midnight	6:43
7. Sandu	7:26

CD2
1. What Is This Thing Called Love?	12:22
2. Conception	8:07
3. Prelude To A Kiss	8:14
4. Hallucinations	6:34
5. All My Tomorrows	6:22
6. Poinciana	9:09
7. When I Fall In Love	8:06                play

Personnel: 
Keith Jarrett (piano); 
Gary Peacock (double bass); 
Jack DeJohnette (drums).

Recorded live at Palais Des Congres, Paris, France on July 5, 1999.

For Keith Jarrett, this extremely satisfying concert with the Standards Trio on two CDs is a personal landmark, the first for-the-record sign that he had recovered from the chronic fatigue syndrome that laid him low for three years in the late 1990s. Indeed, by the time this Paris gig took place, he had come all the way back -- his technical facilities intact (a handful of smeared notes aside), his inventiveness bubbling over. Old cohorts Gary Peacock (bass) and Jack DeJohnette (drums) are back, too, regenerating their propulsive, swinging, collective E.S.P. at will. Not too much has changed from the pre-illness days, though the focus is very much on classic bebop now -- with Bud Powell getting a good deal of attention with an outstanding "Bouncing With Bud" and a terrific "Hallucinations" that has an atypically funny false ending. Jarrett's bebop runs on "Groovin' High" are astonishing, "Wrap Your Troubles in Dreams" is appealingly jaunty and carefree, and ballads like "'Round Midnight" and "Prelude to a Kiss" revert to the melodic simplicity that was cultivated during Jarrett's down time. Even though the Standards Trio has been one of the most prolifically recorded groups of its era, only the final encore, "When I Fall in Love," had been recorded before by this group. So even those who think they have enough material by this group will be rightly tempted to invest in this document of Jarrett's resurrection. ~ Richard S. Ginell

Listening to the high-energy, florid runs, quirky twists, and trademark whines that tattoo "Bouncin' with Bud," the opening track of Whisper Not, it's hard to believe that Keith Jarrett was still in the throes of chronic fatigue syndrome when his trio recorded this date in Paris in July 1999. This isn't the Keith Jarrett of moody ruminations we heard on his solo CD The Melody at Night, with You, released in the fall of 1999. Whisper Not is closer to the Jarrett who launched the Standards Trio with drummer Jack DeJohnette and bassist Gary Peacock in 1983. The trio is still mining the songs of their youth, resurrecting "Poinciana," a signature song of Ahmad Jamal, an early Jarrett influence, and paying tribute to the bop masters with a rollicking take on Dizzy Gillespie's "Groovin' High" and a sophisticated excursion into Thelonious Monk's "'Round Midnight." The interplay between these three musicians has never been higher, operating at a level beyond intuition, playing inside each other's heads. --John Diliberto

Seriously, are these guys just getting better? As if to remind us (after the beautiful, understated 'The Melody, at Night, with You') of his stunning technique, Jarrett presents here a repertoire that tends toward the bop, and hair-raising bop it is. I had the great good fortune of seeing the Standards Trio in Feb '99 in LA and, as this disc confirms, Jarrett seems as focused, or perhaps more so, than ever in his latest dates with this group. Jack DeJohnette is continually insistent and compelling in accompaniment while his solos, as usual, challenge you to find the one while reminding you that he knows exactly where it is. Gary Peacock combines solid up-tempo playing with his usual, probing solos. The interplay of these three masters is nothing short of telepathic. Apparent on this disc, as it was when I saw them, is how much joy and gratitude they feel at being together again. The fact that Jarrett is coming back from debilitating illness seems almost irrelevant when considered in light of the stunning level of play contained herein; however, as his heartfelt words from the stage in LA reminded me, only a courageous struggle allowed him to get back to the piano. Well, back he is, achieving with this long-standing trio the summit of jazz today.

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1.Strollin' 
2.You Took Advantage Of Me 
3.Yesterdays 
4.Shaw'nuff 
5.You've Changed 
6.Scrapple From The Apple 
7.A Sleepin' Bee 
8.Smoke Gets In Your Eyes 
9.Stella By Starlight

Keith Jarrett piano 
Gary Peacock double-bass 
Jack DeJohnette drums 

2001 was clearly a banner year for pianist Keith Jarrett and his quarter century-old Standards Trio. Two shows recorded a week apart, have already been released—The Out-of-Towners (ECM, 2004) and the stellar My Foolish Heart (ECM, 2007), where the trio expanded its encyclopedic approach to the standards repertoire to include some serious stride and ragtime chops. Recorded three months earlier, Yesterdays represents yet another high water mark. No matter how well-heeled some of the material is, there's always a unique charm brought to each release in the trio's growing discography. Jarrett, bassist Gary Peacock, and drummer Jack DeJohnette continue to find new ways to respect the material, all the while keeping it fresh—infused with rarified nuance and an ever-present sound of surprise. The relevance of a good song never fades, as long as there are players who can find new ways to explore its full depth and breadth.

The trio's ability to reinvent its repertoire is clearest on Rodgers & Hart's "You Took Advantage of Me," if only because it also appeared on My Foolish Heart—the first time Jarrett has released the same song back-to-back. Eschewing the stride intro from My Foolish Heart for a more harmonically and rhythmically sophisticated opening, it's equally bright, but there's more implication this time around. Jarrett's solo builds inexorably, all the while retaining the deep melodicism that can be heard in the pianist's "singing," as he channels his ideas into sharp reality.

Elsewhere, Jarrett's delivers a solo on Dizzy Gillespie and Charlie Parker's high octane "Shaw'nuff" that starts at a speed train's pace and builds to a conclusion of double-handed unison virtuosity that's thoroughly breathtaking, yet remains acutely centered on thematic construction. Equally thrilling is the series of trade-offs between Jarrett and DeJohnette near the end of the tune, the pair finely attuned, transcending respective motivation for a fundamental and overarching confluence of control and abandon.

As vivid as the up-tempo tunes are, the ballads possess their own compelling vitality, with Jarrett's delicate touch bringing particular sensitivity to the tender "You've Changed," which also features Peacock's most impressive solo of the disc. With a trio this finely honed, it's almost pointless to single out one player who stands above the rest, but while the attention is often inherently focused on Jarrett, in many ways the star of Yesterdays is Peacock. He stretches out perhaps a bit more than usual, delivering another strong solo on the trio's ambling look at Charlie Parker's enduring "Scrapple from the Apple."

With the players often relaxed and functioning without any preconception or expectation, sound checks before a performance can sometimes yield some real magic. A relaxed but subtly profound and meaningful take of "Stella By Starlight," recorded at the sound check to a show a week earlier, is the perfect closer to Yesterdays. This trio may be 25 years old, but Jarrett, Peacock, and DeJohnette are showing absolutely no signs of losing their edge or relevance. ---John Kelman, allaboutjazz.cpm

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