Jackeyboard Jack Dejohnette

Jack DeJohnette has played with almost all the architects of modern jazz history, from the members of the AACM to Coltrane, Miles, Rollins, Ornette Coleman and Bill Evans and is, of course, currently a member of the world's most celebrated piano trio, Keith Jarrett's "Standards" band. For a quarter-century the drummer has also been a bandleader in his own right. Oneness joins a line of distinguished groups that includes New Directions and Special Edition and is perhaps Jack's most all-embracing unit to date: its members share the leader's utopian vision of a multi-directional music that includes, but is not limited to, jazz. The heart of the band is the uncanny rhythmic alliance between DeJohnette and Don Alias, first tested on Miles's innovative On The Corner and revitalized on the road with Herbie Hancock's The New Standard project.

The group colloquially known as “the Standards trio” has made many outstanding recordings, and After The Fall must rank with the very best of them. “I was amazed to hear how well the music worked,” writes Keith Jarrett in his liner note. “For me, it’s not only a historical document, but a truly great concert.” This performance in Newark, New Jersey in November 1998 marked Jarrett’s return to the concert stage after a two year hiatus. Joined by improvising partners Gary Peacock and Jack DeJohnette, he glides and soars through classics of the Great American Songbook including “The Masquerade Is Over”, “Autumn Leaves”, “When I Fall In Love” and “I’ll See You Again”.

Pictures (1977) is an intriguing offshoot of drummer Jack DeJohnette's work with guitarist John Abercrombie in the Gateway Trio and other groups. A series of lightly colored aural collages that also feature DeJohnette on organ and piano with Abercrombie playing electric and acoustic, it conjures spare, plaintive moods without ever seeming static or New Age-y. The styles vary, ranging from Spanish folk to lyrical fusion to splintered string effects reminiscent of experimental British guitar great Derek Bailey. DeJohnette, who has recorded on the piano in a more straightforward context to less satisfying effect, succeeds in making us see as well as hear his compositions.

The Chicago-born master drummer hopes that his selection “will bring peace, warmth and joy to the listener”. The warm and joyful duo recording with Keith Jarrett that brought both DeJohnette and Jarrett to ECM in 1971 is reprised here - as are bright moments with Gateway, Mick Goodrick and a succession of Jack’s own bands – New Directions, Special Edition and Oneness, with soloists including Lester Bowie, David Murray and John Abercrombie.

Lyle Mays, who came to fame for his electric collaborations with Pat Metheny, surprised many with this superior outing in an acoustic trio setting. On the liner jacket Mays thanks Herbie Hancock, Keith Jarrett, and Paul Bley for their inspiration. If one adds in Chick Corea and especially Bill Evans, that should give listeners an idea of what to expect. However, to his credit (and with the assistance of bassist Marc Johnson and drummer Jack Dejohnette) Mays avoids performing overly played standards and sticks mostly to originals (including two free improvisations). There is no coasting on this excellent set.

Unlike the other two Keith Jarrett trio recordings from January 1983, this collaboration with bassist Gary Peacock and drummer Jack DeJohnette does not feature standards. The trio performs the 30-minute "Flying" and a 6-minute "Prism," both of them Jarrett originals. "Flying," which has several sections, keeps one's interest througout while the more concise "Prism" has a beautiful melody. It is a nice change to hear Jarrett (who normally plays unaccompanied) interacting with a trio of superb players.

Guitarist John Abercrombie was one of the stars of ECM in its early days. His playing on this trio set with bassist Dave Holland and drummer Jack DeJohnette is really beyond any simple categorization. Abercrombie's improvisations are sophisticated yet, because his sound is rockish and sometimes quite intense (particularly on the nearly 11-minute "Sorcery 1"), there is really no stylistic name for the music. Holland contributed four of the six originals while DeJohnette brought in the other two (one of which was co-written with Abercrombie). The interplay between the three musicians is quite impressive although listeners might find some of the music to be quite unsettling. It takes several listens for one to digest all that is going on, but it is worth the struggle.

One of only a handful of Keith Jarrett "Standards" Trio records without a standard within earshot, this is a triumph, for Jarrett has successfully brought the organically evolving patterns of his solo concerts into the group format. Each of the first three selections is built upon a constant revolving ostinato, and each evolves from one stage to the next like a Jarrett solo piano improvisation.

A Love Sonnet For Billie Holiday by Wadada Leo Smith, Jack DeJohnette and Vijay Iyer brings the three artists together for the first time in this meeting of creative giants. The recording is a unique artistic collaboration featuring compositions by all three of its participants.