Between the summer of 1999 and summer of 2002, Keith Jarrett gave concerts almost exclusively with its Standards Trio. Of these, a total of more than 50 concerts were released as seven live albums, a density that it has previously given yet neither ever since, although the standards trio has performed diligently and every year since 2003. In ECM you will have this thought a bit. "Whisper Not", a recording of a concert in Paris in early July 1999 opened this round. On the double album are a total of 14 pieces together, all standards from the classical period of the "Great American Songbook". It is the first release of a live recording of Jarrett, after overcoming his illness (chronic fatigue syndrome). Some critics believe for this disease blade his game especially within the Standards trio no longer so powerful and carefree as before, others say, is now better than ever Jarrett heard. I myself can determine no major playful difference, except perhaps to that the game of the trio over the years gaining maturity, regardless of the illness break. In "Whisper Not" change almost continuously one after the other faster, swinging, partly bop-like pieces with quieter, played in getragenerem tempo tracks. The fresh, airy opener "Bouncing With Bud" follows the title track with a slow, cool flow; "Groovin 'High" is then again brisk, the following "Chelsea Bridge" again rather in amplitude, smooth pace, and so on. There is a lack of "Whisper Not" but one or two outliers upwards as it exists on another trio discs from time to time; it is much more solid, that is (at Jarrett, Peacock and DeJohnette!) above average standards-food offer, but a certain redundancy of the structure of the pieces can not but overhear. My highlights are the opening track of the second CD, "What Is This Thing Called Love", whose syncopated rhythm reminiscent of Jarrett's solo recording of "solar" in the "Solo Tribute" DVD and "Poinciana", a very groovy interpretation of old Nat Simon- / Buddy Bernier number. Here comes the "Whisper Not" again, as very often in the live albums of the trio, Gary Peacocks bass not quite advantage. This Abmischungsschwäche is a permanent nuisance.
