Keith Jarrett, Gary Peacock, Jack DeJohnette: Inside
Out
ECM 1780
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 This live recording,
by what many consider the most accomplished jazz-standards trio of the past two decades,
documents a two-night appearance at London’s Royal Festival Hall. Inside Out
represents a slight departure from other recent releases by this trio, as only a single
track is an established jazz standard, with the remaining four being original Keith
Jarrett compositions. From the opening track, "From The Body," this trio is
ready to provide something special. Each track veers into lengthy improvisational
tangents, which easily demonstrate these musicians’ instrumental mastery. Sonically,
the disc truly recreates the sensation of attending at a live acoustic performance.
There’s a wonderful symmetry to this CD, wherein the first couple of tracks come off
as jazz standards with hints of free-form, then the next two lean more on free-form
structures, and finally, ends with "When I Fall In Love," a genuine
straight-ahead standard. After nearly two decades together, it’s great to see that
this trio's creative fire still burns with intensity.
Suzanne Vega: Songs in Red and Gray
A&M 10493
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 Suzanne Vega bares
all in the wake of her failed marriage, plumbing the wide range of emotions that come
after two people realize the love they shared was not eternal. Whether it’s the
desperation and pain of "Penitent" or the release of "Soap and Water,"
Songs in Red and Gray is filled with ambivalence, anger, fear, and joy -- all
delivered with equal amounts of relief and regret. Extremely well recorded and performed,
Vega's latest effort made me realize that it’s been far too long since I last paid
her attention.
Shakira: Laundry Service
Sony 63900
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 Columbian-singer
Shakira’s English-language debut stakes her claim as a talent that can’t be
pigeonholed. The opening track, "Objection (Tango)," caught my ear with its
innovative sound and muscular drumming style -- it is recapitulated in Spanish as the
disc's final song. Next up is a sweeping ballad, "Underneath Your Clothes." The
contrast between the first two songs lays the groundwork for what is an uneven, but
nevertheless interesting, blend of musical styles. Shakira is a Latin-based female rocker
rather than a lightweight pop star. Her voice shows surprising range and, at times, even
sounds like Alanis Morissette -- although Shakira can actually sing. What I also like
about this album is its use of real instruments and its gutsy sound. Shakira’s sound
is edgy and real and that makes Laundry Service a surprising treat.
Bill Frisell: Bill
Frisell with Dave Holland and Elvin Jones
Nonesuch 79624-2
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 This is one of those CDs that require several listening sessions to
really appreciate. Then you'll end up listening to it over and over again, not being able
to get enough of it. Featuring Frisell’s unique guitar style, which fuses shades of
blues and country into a very optimistic sound, each note comes off like a painter’s
brushstroke -- the cumulative effect fills the canvas with a serene landscape. A landscape
with a complex background, represented in this case, by a brilliant rhythm section
(Holland and Jones) -- sharing nearly a century of musical experience between them. The
opening track "Outlaws" lays out the framework for the next 11 pieces, which
sets the mood for what’s to come. "Coffaro’s Theme," based on a
gradual five-minute-long build-up, really exemplifies the caliber of musicianship
represented on this release. Elvin Jones, at age 74, demonstrates his abilities best on
"Blues Dreams" and "Moon River," where he provides quick, explosive
drums between Frisell’s individual chords. If you've been a fan of Bill
Frisell’s past few releases, such as Ghost Town and Good Dog Happy Man,
then this is as close as it gets to a sure thing.
A-Ha: Minor
Earth, Major Sky
WEA WPCR-10688
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 Who would ever guess that the group that broke the 1980’s hit
"Take on Me" and the title song to The Living Daylights continues to make
music today? Available only as an import, Minor Earth, Major Sky marks this
Norwegian trio's sixth studio album -- and its return from a seven-year hiatus in which
the band pursued independent projects. Those of you who thought that synths and programmed
drum loops were the extent of A-Ha’s talents will be surprised to find guitars,
acoustic bass, and drums sans sampling on this album and on its predecessor. These guys
not only know how to play real instruments, they also retain a knack for spinning good,
solid songs. The record exhibits some admirable production qualities and does a wonderful
job highlighting the always distinct, impassioned vocals of Morten Harket.
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