“When the facts change I change my mind. What do you do, sir?
John Maynard Keynes
A big thank you to Colm “Red” Sullivan for prompting me on the most obvious Shakespeare and jazz marriage, Ellington’s Such Sweet Thunder (funnily enough Whitney Balliett used this title to name his collection of essays, which I’m currently reading – talk about not being able to see the wood for the trees!). To be fair I was purposely focusing on the British slant, but I really should have riffed more on probably the first attempt to fuse the two. I’ve amended the final part of my A Very British Winter post, which you can read here. You can read Red’s re-evaluation of the work of British pianist, Gordon Beck, here.
In terms of hits my Criticisms Against Keith Jarrett post is my most successful to date. I’ve found a review of Dark Intervals from 1989 that has a dig at the ethereal nature of Jarrett’s solo concerts – although it isn’t as critical as the Wire article. I did give serious thought to not scanning and posting the review. I admire and aesthetically gain much from the absolutist nature of Keith Jarrett’s playing (to such a degree in fact that I based my undergraduate dissertation on him – The Development of Keith Jarrett’s Solo Concerts) but as a musician/writer who wants to get their stuff ‘out there’ I decided to bolster my flagship article – people obviously find it an interesting subject. Plus I think Dark Intervals is an important album in Jarrett’s catalogue and needs defending. I explain why in the newly tweaked article here.
On a personal note I have some new playing projects coming up that I’m quite excited about and I’m in the process of recording and compiling material for an E.P. As with anything you care about I’m taking my time with this, ensuring I’m happy with all of the compositions and the musical direction I’m taking the material. Watch this space.