Search - Keith Jarrett :: Personal Mountains

A timeless classic

Odd Rune Straume | Bergen, Norway | 10/12/2001

(5 out of 5 stars)

"This brilliant live recording from 1979, by one of the all-time great jazz combos, Keith Jarrett's "European Quartet", was hidden in ECM's vault for ten years before being released in 1989. This will always remain a huge mystery to me, because in my opinion this album is perhaps Jarrett's best, and certainly most underrated, album. Everything about this album is superlative. The compositions (all Jarrett originals) are, without exeption, marvellous, displaying a range of emotional expressions such as beauty ("Prism", "Innocence"), drama ("Personal Mountains"), mystery ("Oasis") and playfulness ("Late Night Willie"). But this music, distinctly timeless in nature, conveys so much more than what is possible to encapsulate in a few cliched characteristics. The solos are consistently of the highest level. Jarrett's perfectly structured piano solo on "Prism" is quite simply one of the best solos in the history of recorded jazz. A stunning example of free-flowing chromatic beauty. The understanding and inter-play between the musicians are also breathtaking, especially considering that this was not a regular working group. Although highly accessible, there is a depth and beauty to this music that demands endlessly repeated listening. Two of the compositions on the album ("Oasis" and "Innocence") were previously released on the live double-album "Nude Ants", recorded only a few weeks later than the material on "Personal Mountains". Although "Nude Ants" is a nice album, "Personal Mountains" is far superior in almost every sense. The sound quality is far better, and Jan Garbarek, who is not heard in top form on "Nude Ants", delivers one of his best ever recorded performances. This makes it even more more puzzling that the material on "Nude Ants" were chosen for release ahead of the "Personal Mountains" material. The 10-year delay in release is probably a main reason why this album never has achieved the status it richly deserves, namely that of being one of the very best small-group recordings in jazz history. No less."

Sublime live recording

Gavin Wilson | 05/19/2001

(5 out of 5 stars)

"Held in ECM's vaults for ten years before its release, this is one gem of a concert disc. One week before Jarrett's Scandinavian quartet went into the studio to record 'Nude Ants', they tried out some of the tracks at this magnificent concert in Tokyo.I've owned this CD for a further ten years without giving it any special attention, and it has only been in the past few days in preparation for writing this review that I realise how wonderful it is. Side One of the LP is particularly good: in 'Personal Mountains', the band switch several times from loud to soft, and the interplay between Jarrett and Garbarek reminds me of what has been missing from Garbarek's albums over the past decade. Danielsson's bass intro to 'Prism' is sheer poetry; for the moment at least, I feel that 'Prism' is the most beautiful I have ever heard.Jon Christensen's drumming also needs a mention, if only because it matured so much in the space between the quartet's first record and this, their penultimate. (Perhaps it's just me, but I feel that the drums on 'Belonging' could have been much better recorded.) On the 'Personal Mountains' album, Christensen achieves the variety and dexterity that Motian gave the American quartet.The Japanese audience is quietly appreciative. Presumably, knowing Jarrett's flair in the 70s for constant improvisation, they didn't expect to recognise any of the tunes. But they could have been a little more voluble, given the genius that was on display.This is one of the best concert records I've ever heard."

Stormy, lyrical and luminous

Mr. Stuart Robert Harris | Bradford-on-Avon, UK | 01/12/2001

(4 out of 5 stars)

"This is European jazz of the highest order. In the absence of a strong Afro-American input it doesn't swing or swagger but the rhythm section is beautifully supple and springy throughout and the lyricism of Jarrett and Garbarek warms the soul.The title track is a stormer, whipping along at a furious pace and sometimes teetering on the brink of madness, yet never losing the plot. It then segues into reflectiveness, setting the tone for the beautiful Prism that follows.Having Jarrett and Garbarek share the spotlight is great for both of them. They play off each other's lyricism and explore purposefully, but without the meandering they're apt to indulge in as solo front men.I actually feel more five stars than four stars about this album but that's because I usually skip the throwaway "Late Night Willie", a bit of would-be bluesy fluff that doesn't fit the tone of the rest."