One of my favorite Keith Jarrett albums. Can anyone have only one? He’s put out so many great records throughout his career, and of such different temperatures. This is my favorite of the albums by the American Quartet. Though it’s not strictly the quartet — they’re augmented here by two percussionists: Guilherme Franco and Danny Johnson, and guitarist Sam Brown. (Brown plays on two tracks on which saxophonist Dewey Redman sits out.)

Treasure Island was recorded on February 27 and 28, 1974 at Generation Sound in New York, by Tony May. The piano is spread across the stereo spectrum – or at least about two-thirds of it. Percussion dodges and weaves across the stereo spread as well, but further off to far left and right, as well as everywhere in between. The bass seems to be a combination of a direct recording (via pickup) and microphone — in a balance that thankfully favors the microphone. Drums are all over: one tom is pretty far left, cymbals left and right, snare a bit to the right. So there are at least three instruments that are spread across the spectrum: piano, drums, and percussion. I don’t usually like jazz recordings mixed this way (I usually prefer mono instruments spread across the spectrum), but in this case it works. It’s immersing — you’re right there in the middle of the action.

I suppose you could class Treasure Island as one of Jarrett’s more commercial recordings — I just saw it designated as such in a review on Rate Your Music, and now the idea is stuck in my head. I can see it, but it’s not something that had ever occurred to me before. I sincerely doubt that there was any commercial striving involved in it’s making. It does feature rock rhythms — and man, are they gloriously played. And some gospel music vamps. And a few of the pieces are very tuneful: catchy, even in a pop sense. (I’m thinking specifically of “Sister Fortune,” though “Blue Streak” and “Treasure Island” would qualify too.) But these pieces are interspersed with some very intense essays in up-to-the-minute jazz, incorporating Jarrett’s beloved gospel harmony, explosive free jazz, and some of the flavor of Ornette Coleman‘s music (sing-song melodies, Charlie Haden‘s style of bass counterpoint, and some of the conventions of the arrangements).

Maybe the album is a little too wide ranging to be to most people’s taste. Some of it is finely finished (the intricate arrangement of “”Treasure Island”), and some pieces sound like their ideas were never fully sorted (“Blue Streak”). But this is part of what gives Treasure Island its charm. There’s power in the juxtapositions of the “popular” (or “earthy”) music and the fiery intensity in the free playing.

The back cover.

The track “Treasure Island” features a beautiful, heart-tugging melody; it has a kind of wistfulness at moments, and pure innocent joy at others. It’s stated in unison by piano and guitar, the latter in its upper register. The effect is unusual; the guitar, in that register, with no reverb and played in a very clean style with little vibrato or showy technique, sounds fragile. But combined with the piano it gathers a kind of glassy strength. When, in the brief section that might be called the chorus, Paul Motian and Charlie Haden kick in with a very understood but firm backbeat — the effect is uplifting, and exciting, and relaxing at the same time. The only other ensemble I know of that sounds something like this is the short-lived UK rock/jazz/fusion band Gilgamesh. Seems to me this is a sound, and a style, that hasn’t been explored enough.

I could go on about all the tracks on the album, but I’ll confine myself to a few short statements about a couple others.

“Le Mistral” is the longest track on the album, at 9:25. After a — I hesitate to use the word — groovy introduction, an extended vamp that might put you in mind of Vince Guaraldi‘s Charlie Brown music, comes a sophisticated exposition that would not sound at all dated on a jazz record coming out in 2011. The melodic and harmonic language reminds me of some of the sophisticated music Cedar Walton wrote in the 60s while with Art Blakey, but with more oblique harmony. I’ve heard echoes of this sound in many recordings made from the 80s on — I wouldn’t be surprised if Mike Stern, Bob Berg, and their circle were into this record. This track also features a breathtaking piano solo.

The last one I’ll mention is “Sister Fortune” — the other track with guitarist Sam Brown. Have I mentioned that I love his playing on this album? From the sound — which is as plain as can be — a solid body electric guitar through an amp of no particular personality — hell it could be one of those little Pignose amps that were around by that time — to his playing, which is sophisticated, unpretentious, and earthy — there’s nothing not to love.

“Sister Fortune” is another backbeat track — and what a fierce backbeat these guys played — it’s as plain as can be, almost minimalist, with the hi-hat dragging behind the beat ever so slightly — and it’s totally electric, but laid back, and even a little shambolic. Effortless and offhanded, but also totally committed. How do you do that? You have to be great. (Specifically, you have to be Charlie Haden and Paul Motian.) Between the sound of that beat and the intervals played in the guitar I’m reminded of certain tracks by Paul McCartney‘s Wings. Weird, right? Listen to “Sister Fortune” and see if you can tell what I mean. This is a desert island track for me. Hell, it’s a desert island album. If you don’t know Treasure Island, I hope you’ll get a chance to hear it for yourself.

One last thing. I didn’t mention that Dewey Redman was an incredible, underrated saxophonist. He was.

Here’s the 5 CD set of Keith Jarrett’s Impulse albums from 1973-74.
A recent reissue of Treasure Island as a single CD. Haven’t heard this mastering myself.
Lastly, that same issue of Treasure Island in mp3 format.