The recording sessions in New York in January 1983 which came together Keith Jarrett, Gary Peacock and Jack DeJohnette, arose at that time, three different single-LPs. Would that this cooperation of three was already absolutely by established jazz for more than three decades last, was not only because of the stylistic venture that received Jarrett and his colleagues, barely in sight. In the midst of the second phase of the dominance of electronic sounds in jazz (after Miles Davis' fusion jazz since "Bitches Brew" from the late 1960s) put the trio on the frumpy-looking piano-bass-drums combination and took the classic American popular music tradition of the 1930s to the 1960s, so the "Great American Songbook", at. The jazzy interpretation of these standards remained despite several trips of the trio in more experimental fields with original compositions essentially still the characteristic of this formidable band. The songs on "Standards, Vol. 1", as well as those on the volume 2 album, almost all become classics of Trio concerts, although the repertoire over the years of course extremely grown. It is, above all, if one listens to the many live releases of the trio since 1983, very interesting to trace a line of development of the style of interpretation of standards quasi in retrospect. Here you can see that's already heard from the beginning, the typical, both airy and yet very precise way of playing all the instruments under non-intrusive TO Piano leadership on the one hand that marked the trio's playing through all the years and decades. On the other hand, of course, was at these sessions that maturity not have originated in the interpretations on the stages in the US, Japan and Europe finally got the pieces to hundred-fold test: a patina of sovereignty. As an example may be mentioned the intro to "All The Things You Are" that is played somewhat restrained here, in later live recordings (eg in "Tribute" from 1989 or even better on the DVD "Live in Japan '93 / '96 "of 1996) on the other hand incredibly expanded by Jarrett and presented a lot livelier. The shortcoming of the pieces is their structural predictability in all game art. The piano is before the issue, bass and drums, a rise, the subject is varied and interpreted, followed by piano and bass, drum solos sometimes before the end the issue is taken up again. A certain amount of redundancy is not to be missed. Nevertheless, "Standards, Vol. 1" a great album, and especially because of the spectacular 15-minute Billie Holiday classic "God Bless The Child" a bit better than the second album.