Manafonistas

When the postman rings twice. As he did today. Wow! Finally! In the forthcoming German translation of David Mitchell’s latest novel (July 19), the author of many great time traveling books turns his eye on the dark end of the 1960s, a story of music, dreams, drugs and madness, love and grief, stardom’s wobbly ladder and fame’s Faustian pact. There’s Gene Clark of The Byrds, for example, who admires a guitar figure of Jasper’s. Janis Joplin, Leonard Cohen, Syd Barrett, Jackson Browne, and Jerry Garcia turn up (as does, decades later, the brilliant band Talk Talk, acknowledging a debt to the Utopians). There’s even an aside reference to how the Stones’ album Let It Bleed earned its name. Bone spurs and all, it’s realistic indeed and just the thing for pop music fans of a bygone era that’s still very much with us. So, don’t think twice: this seems to be the book some Manafonistas will dive into, no matter if they had been part of the ancient journey or not. Get it! Bong not included. (m.e.)

 

Facing You is one of the most important recordings in contemporary jazz for several reasons, aside from being beautifully conceived and executed by pianist Keith Jarrett. It is a hallmark recording of solo piano in any discipline, a signature piece in the early ECM label discography, a distinct departure from mainstream jazz, a breakthrough for Jarrett, and a studio prelude for his most famous solo project to follow, The Köln Concert. Often meditative, richly melodic, inventive, and introspective beyond compare, Jarrett expresses his soul in tailored tones that set standards for not only this kind of jazz, but music that would serve him and his fans in good stead onward. In this program of all originals, which sound spontaneously improvised with certain pretexts and motifs as springboards, the rhapsodic „Ritooria,“ 4/4 love/spirit song „Lalene,“ and song for family and life „My Lady; My Child“ firmly establish Jarrett’s heartfelt and thoughtful approach. „Vapallia“ cements the thematic, seemingly effortless, lighter — but never tame — aesthetic. „Starbright“ is an easy-paced two-step tune signifying fully Jarrett’s personalized stance. Straddling a more jagged, angular, and free edge, the pianist evokes the influence of Paul Bley during „Semblence“ (sic). But it is the opening selection, an extended ten-minute opus titled „In Front,“ that truly showcases Jarrett at his playful best — a timeless, modal, direct, and bright delight. A remarkable effort that reveals more and more with each listen, this recording has stood the test of time, and is unquestionably a Top Three recording in Keith Jarrett’s long and storied career.

Michael G. Nastos, allmusic