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Keith Jahhett Chahlie Haden RECORD REVIEWS TAZZ KEITH JAHHETT CHAHLIE HADEN THE MUFFS MATT BAUDER AND KEITH JARRETT/CHARLIE HADEN Whoop De Doo DAY IN PICTURES Last Dance Nightshodes Burger BR700 (CD).2014. Kim Shaituck, prod., eng.; Keith Jarrett, piano; Charlie Haden, bass (CD).2014. prod,; Steve Holroyd, eng. AAD? TT: 3713 Matt Bauder, tenor saxophone; Nate Wooley, ECM 2399 Manfred Eicher, Martin PERFORMANCE **€*'*, trumpet; Kris Davis, piano; Jason Ajemian, double Pearson, eng. DDD. TT:76:01 soNtcs q H . bass; Tomas Fujiwara, drums PERFoRMANcE ***** Clean Feed CF289 (CD).2014. Matt Bauder prod.; soNrcs *'*** * John Davis, eng. DDD. TT:56:09 Among band names that are semi- PERFoRMANcE ***** In2070, KeithJarrett and Charlie salacious plays on words, The Muffs sorrcs * *.* *'vr Haden releasedJamine, recorded in ranks up there with punk legends Jarett's home studio in March 2007. It the Sex Pistols and the Vibrators and Saxophonist Matt Baudel a former wasJarrett's fust pro.;ect in 30 years that maybe even-for those of you with student of Anthony Braxton, is known was neither solo nor tio. Lat Danrt really long memories of really bad for his experimental trio work with contains additional music {iom those hard rock-Mom's Apple Pie. That Memorize the Sky and his sideman sessions. It sustains the rapt atmosphere, the veteran (since 1991) L.A. combo appearances with Harris Eisenstadt, the inspiration within quietude, that makes a righteously loud racket and Taylor Ho Bynum, and others. In 2010 made Jasmine addiaive. is fronted by feisty Kim Shattuck only he turned to an angular and swing- ThoughJarrett uses standard ballads makes the sonics,/sex double entendre ing species of acolsi,c jazz for Day in as starting points, his interpretations are all the better-it's pretty hard to accuse Pictures, and the album's title became definitive. They are the last word. His a group of sexism when there's a gal his band's name. The follow-up, revelation of a given song's emotional running the show. (Last year, Sharnrck Nigfutshadu, features Bauder exclusively essence is typically the deepest avail- also briefly replaced bassist Kim Deal on tenor (he doubled on clarinet on able any"'vhere. "It Might As Well Be in the Pixies.) And for their frst proper the first disc), and pianist Kris Davis in Spri"g" is marked out with profound studio album in ten years, the three place of Angelica Sanchez. care, uncovering unsuspected relation- Muffs have served up a dozen hook- Bauder has a husky, inviting tenor ships among poignance, wistfu lness, filled nuggets with the same kind of sound and a penchant for startling, and yearning. "Goodbye" is darker. It is vim'n'vigor that marked their teenaged exaggerated growls in the midst of one ofthe saddest songs ever wrimen. selves'efforts. fluid improvising. His opening caderza Jarrett's timing is exact, as he modulates The tropes are endearingly famil- on the gorgeous ballad "Starr'Wykoff' beh,veen the existential abyss offinal iar, as befits an old musical friend: is stirring and full of sulprise. He and farewell and resigrration. hi-nrg buzz-saw pop ("Weird noy trumpeter Nate Wooley reveal an Haden's sense of the moment is Next Door" and "Thke a Take a Me," effortless hookup, not least in the title also trusrworthy. He is reductive and wherein Shattuck snarls and howls rrack, which omits piano and delves extraordinarily patient. He will selea in her best rwo-packs-a-day rasp deep into a New Orleans second-line the defining note of a chord, then hang to out-Love Courrney Love); sassy, rhythm. BassistJason Ajemian and it in the air like a prophesy. thrashy, anthemic punk ("Where Did drummer Tomas Fujiwara are also bril- Jarrett takes no bold liberties with I Go Wrong," "Because You're Sad"); liantly paired, locking in on the spooky, these songs, but he lingers over them. British-Invasion-meets-Nage ts garuge Horace Siiver-ish "Octavia Minor," the "ItMightAs WellBe Spring" is aimost ("laint by Numbers" and album quasi-boogaloo avant-garde inven- 12 minutes. "My Old Flame," "'Round standout "Like You Don't See Me," i tion "Rule of Thirds," and the soaring Midnight," and "Where Can I Go la the Who and Kinks). Sonics-wise, rubato odyssey'August and Counting." Without You" are about 10 each.Jarrett lilhoop De Doo probably won't impress If there's a secret weapon here, it's ponders them, spilling into adjacent audiophiles: its dynamic range is decid- Kris Davis, who shines in this mark- corollaries. flowing into digressions edly limited, with emphasis on the edly tonal settinynot her usual bag. close at hand. Each rerurn to the mids and Shattuck's voice placed well Her richly colored chords and formi- melody is a new shade of meaning, a in the foreground. Still, the energy on dable solo chops bring it all together, fresh nuance of Geling. "My Ship" is display is infectious, grving this rrio a although she could be more present unusually slow as it clings to its hope. Iarger-than-life oomph. in the mix. Otherwise, the sound is The sound would be less dry and To quote a great philosopher, there's crisp and full: Fujiwara's drums and sterile ifJarrett had recorded in a a whole lotta shakin'goin'on here. Wooley's idiosyncratic brass timbres world-class studio. But he probably -Fred Mills are particularly well served. needed to stay home to make a record -David R. Adler this serene.-thomas Conrad stereophile.com , August 2014 113.
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