Homage to a legendary jazz bassist

On July 11, 2014 died in Los Angeles of bassist Charlie Haden. He was one of the most important and influential jazz musicians of the 20th century and a longtime traveling companion of Keith Jarrett. ECM has recently released a second CD with Last Dance of the last studio interplay between Jarrett and Haden from 2007, after previously Jasmine had documented the wonderfully lyrical piano bass sound of the two legends. Well done as a further tribute to Charlie Haden publishing a live recording from the year 1972 when Jarrett and Haden in Hamburg in the NDR studios had an appearance before TV audiences along with drummer Paul Motian. It is only the second part of this work contains six songs on the CD, but in a revised sound quality. The entire concert is also available as a bootleg of the ominous label Jazz Lips and DVD (which is hard to come by, however). For the DVD I have written elsewhere once a review, I would like to quote here:

It was a wild, extremely eager to experiment Jazz Trio, which had since been found in 1967 and in the following years, grossed some LPs and gave concerts before it is saxophonist Dewey Redman for better-known American Quartet extended (but remained no less experimental): Keith Jarrett, the young, extremely talented pianist, as well as both a bit arrivierteren musician Charlie Haden on bass and Paul Motian on drums. Jarrett was 1966-1969 not only in this trio, but also in the band of Charles Lloyd and their active-budgetary drummer Jack DeJohnette was replaced for some performances in 1968/69 by Paul Motian. Motian and Jarrett were thus already recorded together very well through several studio sessions, which sprang to pieces five LPs until then, when it came on 14 June 1972 the performance at the radio station NDR in Hamburg, which is present here on DVD. As far as I can see, this radio station appearance is the last joint concert, which was given in exactly this formation before precisely Dewey Redman, who has worked with some of the studio recordings was previously doing, also live was a permanent member of this lineup.
The Wild, free, experimental, avant-garde in jazz music of those years had Jarrett one hand by Ornette Coleman, on the other hand also by Miles Davis (in which group he was active until late autumn 1971 by the summer of 1970) affected. When Miles music of those years Jarrett liked but the electrical system in the sound not so much, and so he returned to the electric piano in 1972 finally back. But the free jazz he remained facing and can also be heard on the pieces of this DVD and see.
Jarrett plays next to the piano even occasional soprano saxophone (eg in Follow The Crooked Path and Piece for Ornette) certainly at a high level, but often atonal, oblique and rarely really worth listening to, plus more often the tambourine and other small percussion and in Everything That Lives Laments very interesting a small wooden flute (Bansuri one?). Some of the often quite long pieces on the DVD Live In Hamburg 1972 to say the least, rather difficult, even when free jazz opposite is open. The opening track El Juicio belongs to this category, also follow The Crooked Path, Bring Back The Time When (If), the Piece for Ornette or Life Dance. Especially Jarrett and Motian alternate often in wild and daring incursions atonal arrhythmic jumps, while Charlie Haden on bass (who unfortunately interfered significantly too low in the overall sound) to the whole thing is a reasonably tolerable framework. On the other hand, can be heard on this DVD and watch (in the way, wonderful images and sections) quite excellent pieces. Moonchild of cooperation Keith Jarrett with vibraphonist Gary Burton about is a very good number, as well as the beautiful ballad Standing Outside and written by Jarrett's first wife Margot Rainbow. Quite nice to listen are also a short solo improvisation Jarrett on piano and Everything That Lives Laments, which opens in this solo. The play Take Me Back will receive its full maturity only a few months after this Hamburger appearance in the sessions to Expectations album, then mainly by the guitar of Sam Brown. Life Dance is a previously unpublished number. At the end there is the nearly 14-minute Song For Ché from the pen of the then politically quite active Charlie Haden, a tribute to Che Guevara. Again prevail lawless rhythms and melodies, dominated by Haden's bass, which is plucked and painted.
The DVD Live In Hamburg 1972, more than a collector's item. Anyone seriously interested in the early career Keith Jarrett, this film should, despite these dangerous free pieces, necessarily raise.

Instead of a new release of the film is now so at least a large part of the concert is available on a sound technically flawless CD. Convince Not all pieces (in particular the Piece for Ornette is a little too freely). But the acoustic re-accentuation of Charlie Haden's bass compared to the unofficial back issues (and even to many ECM publications Standards trio of Jarrett, where Gary Peacocks bass is adequately recognized) justifies the purchase of this CD for Jarrett- and Haden fans anyway.