A Lark Ascending

I don't. Not saying you do. But I find that more committed listeners - especially those who are musicians or who have a technical musical knowledge - can lose sight (!) of how music sounds to an ordinary listener. And by far the majority of listeners are ordinary listeners. Not sure that's a good idea! However much I enjoy much of Jarrett's music, he has nowhere near the range of Debussy.

Because he has a melodicism that appeals to a wider audience? Because his harmonic language is familiar to a wide audience where more spartan pianists give little for the new or casual listener to hang onto? Because he was an entry point to jazz for so many and is still held in great affection? Plus a large dollop of marketing which has raised him to a status and visibility above other equally enjoyable pianists. Remember, most listeners do not listen to music with slide rule and graph paper in hand. They react to direct emotion couched in a familiar language. Jarrett speaks that language and is not afraid to emote. This is, of course, a reason why many more seasoned listeners don't care for him. They are often suspicious of emotion displayed without irony, rich 19thC harmony, melodies that are obviously pretty. Which is fine - it stops being fine when they slag him off for not fitting with their particular set of rules. Jarrett may be setting out to pander to popularity; but he may equally be quite deliberately aiming to communicate with a relatively broad (in jazz terms at least) audience.

I wouldn't question Coltrane's much greater importance for a moment - but I think that position is based on musical and historical grounds. My point exactly! There's a "level" in Coltrane's work that is not present in Jarrett's. Agree totally...though based on instinct rather than knowledge. I'm not equpped to musically analyse either. I can only react as a listener. Well, I suppose you get an element of that with the vocalising on records; but otherwise...apart from a somewhat sanctimonious atmosphere at times...you're spared it without any visuals (I'm not a DVD buyer - even if I was I don't think I could cope with a Jarrett DVD). I do know what you mean - Over the years I've come to prefer Paul Bley's sparer approach (I mention him, simply because he also does those extended solo pieces quite regularly). And someone like John Taylor might come from the same 'romantic' end of the jazz spectrum but you never feel you are in church.

Subjective indeed. I jettison the 'spiritual' stuff from both of them equally when listening. I wouldn't question Coltrane's much greater importance for a moment - but I think that position is based on musical and historical grounds. Who was/is the most spiritually 'honest' or 'adult'....well, I think that's mainly projection from the listener. From my (very partisan) viewpoint it seems equally daft. But it doesn't stop me enjoying the music.

Yes, that would be interesting. I recall reading one of Gary Giddins collections of reviews where he got terribly upset about the Romantic-era influences on Jarrett. Always struck me as strange that he could be castigated for having Romantic influences; if he'd been influenced by Webern or Boulez he'd have got the thumbs up. Note to musicians - make sure you choose your influences from the approved list. Seriously...maybe he'd blow me away if he had those kind of influences.... Perhaps. But if he'd had those influences he'd be of little interest to the mass of listeners who have gained pleasure from his music over the years. There are other pianists with such influences who can satisfy the more 'discriminating' listener.

When Coltrane did that from at least 'A Love Supreme' onwards he was praised to the skies...or even the heavens! In fact he spawned a whole industry of god-bothering* music and critical word-spinning of which Jarrett seems to be a part. I find I can switch off from all the 'plumbing the depths of one's soul' stuff in Coltrane; just as easy to do it in Jarrett. Best not to read the liner notes or any associated publicity, though. *acknowledgement to Cook and Morton for that term used in relation to 'Live in Japan', I think.

Yes, that would be interesting. I recall reading one of Gary Giddins collections of reviews where he got terribly upset about the Romantic-era influences on Jarrett. Always struck me as strange that he could be castigated for having Romantic influences; if he'd been influenced by Webern or Boulez he'd have got the thumbs up. Note to musicians - make sure you choose your influences from the approved list. I can only guess but I'd imagine he'd played a lot of classic music from all over in his training years; the 19th/early 20thC influences do seem strong in the early records. From the 80s on he seems to get more astringent in his solo music (he often appears to be slowly worrying away at a tiny cell), less likely to give us the relief of a rich, romantic release. I actually prefer the more romantic early Jarrett, even though I'm not that keen on Chopin, Rachmaninoff and the like. Maybe the bluesy/gospel/country bits dissolve some of the sugar for me.

I can't imagine anyone having an objection to reasoned criticism of Jarrett or anyone else. How else do you get discussion? It's the jeering/blanket condemnations that are tiresome.

I've not had much time for Jarrett's pretensions and bad temper over the years; but I've gained great pleasure from much of his music (though I wish he'd try a different format once in a while!). I've not had much time for the pretensions and bad temper of the jazz intelligensia over the years; I've gained considerably less pleasure from their pronouncements and assertions. What I find really puzzling is the utter conviction of both with regard to the rightness of their viewpoint and the idiocy of those who prefer a different path.

"I'd Rather Be The Devil" and "Outside In" were wonderful examples of this - there are some good mid-70s live/BBC recordings on CD. I saw him in '75, I think, doing this stuff with Danny T. I never cared for the more conventional electric guitar of later years; but at Cropredy in the late 80s he topped the bill on the Friday night with Danny and played using the echoplex as if it was part of his daily armoury.

Enjoyed the few I've read - good, tense thrillers. Of course, if it's 'American letters' you are seeking, then look elsewhere....

That is sad...though not surprising. He's not looked well in recent years and had a limb amputated. In the early to mid-70s he was a a unique talent, responsible for some of the great records of the era. And, in duo with Danny Thompson, could still pull it off live in the late 80s. To think he'd just got an OBE too!

Sorry to read this, trane-fanatic. Working in a relatively secure profession (though who knows!) I've never had to face these sort of fears. Hope you get something in the near future. What astounds me is the 5 mins to clear your desk' stuff. Where's the humanity in that? Seems like pure management cowardice, unwilling to face up to the human consequences of their decisions (economically necessary or not). And to think we in the public sector are being constantly told to emulate the methods of the private sector!

Nikki Iles and John Law from the UK. Both operate at the John Taylor/Bill Evans end of things - though Law recorded some quite 'out' music a while back. His last three albums are all very beautiful and should appeal to Jarrettophiles. Keith Tippett remains a hero for me, someone whose playing predates my interest in jazz. I'm hoping it's time he turned up at Cheltenham or Bath (where he has appeared quite often).

Missed this one: John Martyn OBE

Showing your youth there, sidewinder! Barely out of nappies ! That's one of the earliest TV memories I have (apart from Andy Pandy, Looby Loo (Lou?), The Woodentops etc ). The other one is seeing the Churchill funeral barge procession along the Thames with all those cranes. In retrospect, that was an entire era coming to an end and a new one beginning. I recall the Churchill funeral too - being taken into the junior school hall to watch it. I don't think we had a clue why. What about 'Rag, Tag and Bobtail'? I have no memory of TWTWTW; I do recall Frost in the late 60s - never understood at the time why he enraged my father so. I think I can see now - TWTWTW was against everything he stood for.

We're so used to it that we hardly hear it. But it's actually a very nice blues with the brass arranged to reflect a Northern brass band (especially at the end). All we hear is a bit at the start and the bit at the end on TV. But there's a full version here: http://www.televisiontunes.com/Coronation_Street_-_Full.html The middle section is positively Ellingtonian! Very much of it's time - Northern kitchen sink drama meets that brief moment when 'Trad' was the height of fashion! From Wiki: Doesn't help on Kenny Clare but...

I was trying to remember that name. I remember hearing on, I think Peter Clayton's Sunday night jazz programme on Radio 2 many moons ago, how Clare did the drums on 'Coronation Street' and got paid a flat rate for the session (standard practice, I assume). Imagine if he'd got royalties!

From the 60s through to the early mid-70s one of the most popular TV shows in the UK was a thing called 'The Black and White Minstrel Show'. So I imagine it's also satirising that. (Lennie Henry, a well known British Afro-Caribbean comedian, actually started there, telling jokes that mocked his colour.) There's a very good chapter on the context of 'That Was The Week That Was' in Dominic Sandbrook's excellent study of Britain in the late 50s/early 60s, 'Never Had it So Good.'

I never really got the Grateful Dead until I bought that set - it's very focused on their jamming side (in some cases improvisations cut out of performances). There is some miraculous music here - moments when they are all playing the same tune but taking their own paths without it getting ragged. And you don't have to wait through the 'cowboy songs' (which I've come to quite like) to get to the instrumental wonders. Of course, once you've heard this you want to hear what a whole concert sounds like. I'd agree with those who suggest the live discs - there are many to choose from. I found this useful a few years back when trying to decide what to try: http://www.blairjackson.com/jg_on_cd.htm I imagine it's pretty out of date now - but should give some suggestions.

You must get up to Nottingham or Sheffield at some point, Alex. I'll come out to hear you. Both cities have pretty active jazz organisations who would welcome the people you play with.

January ticked off - Julian Arguelles, Michael Formanek and Tom Rainey. Not my picture...found here http://www.russpix.co.uk/photo_102108.html Great start - freewheeling, Ornettish post-bop (though Arguelles has nothing of the earthiness of Ornette; more Lester Young than Coleman Hawkins). I've heard Rainey quite a bit (he's a regular in the UK) and he was as wonderful as ever. Reminded me of the first time I saw Paul Motion in the mid-80s - a small, no nonsense kit yet what sounds! Formanek I've heard on record but never live - very impressive. I know arco playing is often frowned on but I loved his use of the bow. Highlights - a tremendous pairing of two Spanish themed tracks, one slow and keening, the other uptempo flamenco influenced; and a magnificent closer called 'Redman' dedicated to Dewey. The spirit of Ed Blackwell was there too. All new compositions - they had their CD of a couple of years back for sale but deliberately went for a fresh book. Which is how I like it - making the record and then touring it always strikes me as artistically back to front - work up the material live first and then record it! Of course, I can see why it makes commercial sense to tour the record. Which is, I suppose, one of the beauties of jazz - in most other musics listeners expect to hear things they know. UK members can hear them at: the Vortex, London (26 Jan) Oliver’s, Greenwich (27 Jan) Royal Welsh College of Music and Drama, Cardiff (28 Jan) St George’s, Bristol (29 Jan) Polish Catholic Centre, Sheffield (30 Jan) Black Box, Belfast (31 Jan) JJ Smyths, Dublin (1 Feb).

Indeed! 'Seagulls' is especially wonderful.

My favourite Texier - a very special disc in my house!

That's the one!