![]() Jarrett often seems to provoke undiscriminating adulation in many listeners, but the ludicrous reception accorded to the title track, a largely uneventful 10-minute meditation on a four-bar pentatonic riff, calls into question the value of all Jarrett’s work. ![]() The Cure is unlikely to attain the historical altitude of Expectations, since it is essentially another chapter in Jarrett’s rekindled affair with ‘tunes’. Occasionally there is a self-indulgence which will try the uncommitted listener, but Jarrett’s ecstatic outpourings on Common Mama are as extraordinary as anything he has recently produced. The result is a still coalescing picture of Jarrett’s highly personal style. Rather than rock, jazz and more rock, we hear elements of gospel music, Ornette Coleman and free-playing, the European concert legacy and the hard bop piano lexicon. Jarrett preferred to operate within a subtler dynamic range, to parcel different genres into different tracks, and to work with far closer reference to jazz’s traditions and materials.Īlso, although it may technically be fusion, the music reflects the composer’s stylistic preoccupations. This was one of Jarrett’s first responses to the pluralistic enthusiasms of the early seventies, but it stands in polar contrast to the high-wattage genre-crunching of the Mahavishnu Orchestra. However, although Jarrett had earlier dabbled with electric piano, and although this session is lacerated by the crude rock guitar of Sam Brown, it reflects Jarrett’s interest in the non-electric aspects of the idiom. ![]() I’ve given the correct running order, probable location and approximate date below.īy comparison with The Cure and other recent Jarrett work, and in keeping with the tenor of the time, Expectations presents a fusion of styles. There are further challenges in the insert, which contains a fine note by Chip Stern but makes no mention of the fact that this issue omits the original opening track Visions and does not trouble itself with recording location or date. The Expectations reissue maintains the quality we have come to expect from Columbia’s Contemporary Jazz Masters series, mangling the track listing and playing times in a way that should make life very interesting for radio presenters. ![]()
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