Keith Jarrett - Luminessence

Keith Jarrett Luminessence

Sudfunk Symphony Orchestra - Strings
Jan Garbarek - Tenor and Soprano Saxes

1. Numinor
2. Windsong
3. Luminessence





While this is a great album, it would be difficult to classify the music as "jazz." Keith Jarrett has been one of the top performing jazz pianists of the past 30 plus years. This recording was made in 1974, when Jarrett was mostly working with either of his influential quartets (American and European). Jarrett has also done quite a bit of work in the "classical" world of music as well (compared to other jazz musicians, at least). Jarrett released an album of some of his compositions for various classical ensembles called In the Light. I checked out In the Light from Northern Michigan University's L.R.C. a couple summers ago. I had high hopes listening to it, as their was a piece featuring Ralph Towner on guitar. After listening (admittedly, only once), I was somewhat disappointed with Jarrett's first compositional themed album.

When I was at Stardust record store in Thiensville, WI this past weekend, I came accross Luminessence. I decided to give it a try, if not only for the fact it was two dollars. The record is really good. One quality that I appreciate in music is if it can be satisfying background noise, but also reward close listening. While I just read on Wikipedia that many people in the classical community are somewhat dismissive of this recording, I feel that Keith's string parts and Jan Garbarek's sax improvisations are creative, accessible, and interesting. I would really be interested to see what kind of directions Keith gave Jan for his improvisations. I wonder if Garbarek was just going off of the melody, as he often bases his improvisations off of melodies stated in string sections.

My favorite track has been "Luminessence," but I must say the other two are good as well. "Numinor" contains an incredibly fiery sax cadenza a la John Coltrane or Albert Ayler. There is a lot of great interplay going on throughout "Luminessence." I really like the way the soloist, Garbarek, works with the string section with his improvisations. Throughout the whole album, Garbarek does a wonderful job of connecting his otherworldly outside playing into very smooth legato phrases to match what feeling the strings provoke. Much of the music sounds like it may fit well as incidental music in a play or a movie.

This is a good album, but it is not an essential purchase for a casual jazz listener. I would have linked some of the tracks to YouTube clips, but there are no samples on YouTube. That's too bad, because I feel most people would benefit from hearing the music, but I feel that many people would not end up playing this album a lot. I know there isn't really an option for renting music, but if you see this at a library, check it out and give it a few listens. Otherwise, you can always ask me to loan you my album, provided you have a record player to listen to the music on.

Larry Young - Unity

Larry Young Unity

Larry Young - Organ
Woody Shaw - Trumpet
Joe Henderson - Tenor Saxophone
Elvin Jones - Drums

1. Zoltan
2. Monk's Dream
3. If
4. The Moontrane
5. Softly as in a Morning Sunrise
6. Beyond All Limits




This is one of the all-time great blue note jazz albums. Larry Young was an extremely gifted organist. As is noted, there is no bassist on this recording. Larry Young handles the role of bassist by playing wonderful walking bass patterns on the foot pedals of his b3 organ. Young is certainly not the only organ player to do this; many organ trios, for example, consist of drums, organ, and guitar (Larry Young was part of an intriguing jazz-rock trio consisting of Young, drummer Tony Williams and guitarist John McLaughlin). Listening to Young keep the bass lines going during his solos tends to boggle my mind.

The incredible independence that Young has amongst his limbs is showcased in the duet of "Monk's Dream" with Elvin Jones. Jones is well known for ruling the throne in John Coltrane's classic quartet. Jones would prod Coltrane into hypnotic excursions by use of his incredible poly rhythms. On "Monk's Dream", he uses his sticks to provoke some carnal organ playing from Young.

On a side note, I believe I read somewhere that the saxophonist to organist analogy is thus: Bird is to Jimmy Smith as Coltrane is to Larry Young.

I like all of the tracks, but "Zoltan" stands out to me. This piece was written by Woody Shaw, and it is named after the famous Hungarian composer Zoltan Kodaly (surely, most music education students should recognize this name). The composition is introduced by a march pattern between Elvin Jones and Larry Young. After the first melody is stated, Young and Jones bring down the house with a nasty latin groove. The dynamic comping from the rhythm section provokes fiery solos from Woody Shaw and Joe Henderson. At 3:20, Henderson unleashes a glorious "outside" lick. Listen for yourself; is it not ballin'?

This album is great. My only complaint is that it only lasts for around forty minutes. I guess, in today's modern compact disc age, I am used to fifty to eighty minutes of music per album. The playing is definitely top-notch, and I recommend it to anybody that is attempting to boost their jazz record collection. 10 out of 5 stars!