The most perfect trio in contemporary jazz

In March 1996, the Trio has performed in Tokyo's Orchard Hall. A particular spirituality of the place must be there effectively. The full 80-minute live concert explores a standing in the center, rhythmically incisive, Blues-like motif, with quiet, meditative sequences, with concentrated, polyphonic trio talks, with clear, collective float, but also with wonderful, strong rhythmic dialogues ,
The trio works extraordinarily free, tremendously concentrated is the choice of means. The search can always celebrate the exhilarating find. Jarrett favorite bassist Gary Peacock acted adequately as usual, even if he had, especially, briefly to fight in the beginning with intonation opacities; he is anyway not just the great master pure tone; his qualities lie elsewhere: in the dense, communicative, rhythmic accent as inspiring collective game. It also did not go primarily to risky, free-flowing expeditions and Inventions, but the ingenious games, play around, twisting and turning to the various lighting and ever new exploration of standard topics such as 'It Could Happen To You', 'Never Let Me Go', 'Billie's Bounce', 'Summer Night', 'Mona Lisa', 'Autumn Leaves'.
Gingerly out broken items, but can recognize the melody of standards, quiet Tonhüllen were, unfinished, most indicated structures: Revel and silence. The inner cosmos this seismographic century trios, in which each of the musicians as pays attention to the other to himself, respected him, only lives by these intentional incompletion, then culminates and finally transcends the distinctive genius, for example between Jarrett and drummer Jack DeJohnette which earned approximately in an exciting sequence with sparkling sparkling brushwork and had a fine day. Keith Jarrett circles with his congenial musicians like a satellite to all threads, it drizzled with pianistic gold dust and leaves the rest of the magic favorable moment.
Stunningly beautiful!