Time for a re-listen

First tune is “meaning of the blues”. Miles Davis repertoire but even eighth note feel. Bill Evans harmony. Minor vamp outro is shocking and personal

“All the things you are” virtuoso rhapsody in the tradition of Lennie Tristano and Paul Bley. Last chord is “classical” Ab flat triad

“It never entered my mind” Miles Davis repertoire. Jack’s brushwork notably strong. Atonal cadenza and deceptive cadence to finish

“ The masquerade is over“ most straightahead performance, at times Keith is playing somewhere not far from red Garland in his improvised line. They start with a bridge, a nice touch

“God bless the child” Levon Helm and Jack DeJohnette were buddies. Impressed with how loud Jack is in the mix here I thought I wasn’t gonna like this but it’s actually objectively killing. Perfect slice of “gateway jazz”

“So tender” Second album also starts even eighth. Never liked this Keith original that much, still don’t. What’s he doing playing the Girlfriend chord? Is he Chick Corea? The double time lines on the solo are impressive

“Moon and Sand” Keith was an early advocate of Alec wilder on record. This must be one of the earliest recordings of this beautiful song. When I was a teenager I always skipped “so tender” and began the CD here

Gary is up on his chops and sounds great. Incredible how much Jarrett plays during the bass “solos.” It works but I would’ve dialed the piano back in the mix another notch

Another wild “in the ancient heraldic style” outro on “Moon and Sand.“ Eventually this vibe became long “original compositions” in trio live sets

Obscure Jerome Kern masterwork “In Love in Vain” swings out. Fresh

I’ve studied so much bebop at this point that I miss something in Jarrett’s double-time flourishes during “In Love in Vain.” They are awfully literal and scalar

“Never Let Me Go” gorgeous. Jarrett is inside this one

“If I should Lose You” wow at one point I was REALLY into this. The piano builds and builds even though Keith plays few chords. Mostly a single line (which was often articulated with both hands)

“I fall in love too easily” intro is classic Jarrett, he’s not playing such unique stuff but his sonority carries the day

“Stella by Starlight“ Jazz trio in a concert hall. Opening piano intro is long and striking. Starts “normal” Bill Evans but Copland or Shostakovich references creep in. Jarrett talked about “universal folk music”

V. good strut in the “Stella” swing, Keith Gary Jack, all loose, phrases coming out of every corner. Better than on previous studio session

Dark piano chords for the outro but then a triadic cadence

“The wrong blues” Alec wilder again; never heard anyone else play this. Great piece with unusual phrase lengths. Conversational trio swing. Impressive bass solos on this set

“Falling in Love with love” just stunning Jack Dejohnette at this medium, medium tempo. Jarrett’s lines start and stop in unexpected places

“Too young to go steady” repertoire from Coltrane. Jack works into a version of the Vernel Fournier beat from Poinciana. Classic track

For the first time I’m noticing how some of Jarrett’s triadic lines sound like Dewey Redman. Or really, the Ornette Coleman tradition but on piano and in jazz standards

“The way you look tonight” when I used to love this record as a teenager I hadn’t heard any Lennie Tristano yet. Now the Tristano influence is obvious, especially at this tempo. Keith wants to surprise himself in his improvisations

The duration of applause after “The way you look tonight“ is unacceptable

“The Old Country” Nancy Wilson/Cannonball repertoire. Great but Jarrett lines threaten to become too “classical” at times, a Bach etude in the middle of the swing.

Again, too much applause, although it would probably be OK if we hadn’t subjected to that barrage on previous track

Still Live opens with “My Funny Valentine”. Ok this isn’t Red Garland w. Miles The material seems too banal at first but Jarrett borrows from someone like Samuel Barber (Jarrett played the Barber piano concerto) and develops motifs into a grand statement

“Autumn Leaves” was an important record for Jarrett with Charles Lloyd, also w Jack DeJohnette. My fav part is the chordal fantasy after the single line stuff