| Jazz |
Geoffrey Keezer presents his first live trio album in over 15 years, accompanied by John Patitucci and Clarence Penn. Suffice it to say, this album offers a clear interest. “I’ve always wanted to release a Live at Birdland album,” declares the Wisconsin native who grew up listening to Art Blakey’s 1954 Blue Note recording, “A Night at Birdland.” For three nights, the trio performed six sets at the Birdland Theater. “We had six opportunities to create something new each time,” he says. Personally, I find this pianist very close to Keith Jarrett in his musical approach and piano playing, even though we are clearly in a very melodic and accessible jazz, seemingly… His inspirations, however, lean towards Chick Corea, whose works he covers three times here, along with pieces by Wayne Shorter and his own compositions. Regarding Wayne Shorter and Chick Corea, Geoffrey states: “They are two of my musical and somewhat human heroes,” says Keezer, who had the honor of recording with Chick earlier in his career and of replacing Wayne’s quartet for several dates in 2009. “I loved the fact that they were both young at heart, almost childlike, in their approach to life. Even though they created incredible works of art and very complex music, they never took themselves too seriously. They always had a great sense of humor.”
Undoubtedly, this is the key to success. Indeed, most great artists share this mindset. It is likely also the reason why, even though these artists wrote complex music, they managed to remember that their creations were meant for a broad audience. Here, the three companions pull out all their expertise to charm you, and it works wonderfully, knowing how to use harmonies as well as silences to better bounce back. “Live at Birdland” also highlights two original compositions by Keezer. “Wayne and Chick really encouraged me to compose,” he says. “They always asked, ‘Are you writing something?’ and Chick in particular would get upset if I wasn’t. So, I really wanted to honor their wishes by including these two pieces on the album.”
However, this is not a covers album. The arrangements are so imaginative and powerful that one quickly forgets the original titles. There is no need for Corea’s keyboards or Wayne’s saxophone because everything is dissected, recomposed, and each of the three artists on this album is at the peak of their art, as I have never heard them before, to the point that if it weren’t for the applause here and there, one would think it was a studio album…
This album ends with a smile on the track “Madame Grenouille” by Geoffrey Keezer, and it’s an excellent thing. Here, the pianist is radiant, limitless, with the audience applauding long at the end. The only regret is not being there at the moment of this concert. “Madame Grenouille,” already present on his 1997 album, is somewhat modified here because, inevitably, titles evolve over time. So, you will have to wait until mid-August, but ultimately it may be for your own good because once you get hooked by this album, it’s hard to let go. It’s normal; it is one of the albums we consider “Indispensable,” with eight tracks that fly by and compel you to listen again and again.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, July 22nd 2024
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