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JarrettвЂ™s quartet in the 1970s, but theyвЂ™ve each separately developed a relationship to the slow ballad. Haden, the bassist, havenвЂ™t worked together since Mr.

How long can these musicians go on like this? WhatвЂ™s the purpose? Is this penance or prayer? Is this how they are all day? And then you might come to realize theyвЂ™re doing this for you, not for themselves.ДЄ little of that spirit gets into Keith Jarrett and Charlie HadenвЂ™s duo record, вЂњJasmine.вЂќ Not a lot just enough so that you notice. That is to say music that isnвЂ™t obviously lyrical or evocative or romantic, or any particular mood music that proceeds down one road long and single-mindedly enough to make you start asking questions.

Music can be hypnotic when it is sufficiently unlike normal human behavior and discourse as to make you uncomfortable and engage your judgment. The lyrics, too, have graceful moments alongside awkward ones, like these lines in вЂњGardenвЂќ: вЂњOnce we danced to the moonlight, shared a kiss to the rising sun/Everyday was dying, fleeting moments lost under the gun.вЂќ But the music - brooding Celtic rock with jabs of guitar and accordion - carries her through. Some phrases are focused and persuasive, with a girlish feistiness others are shaky. ElsonвЂ™s voice, which shows the wavering concentration of a promising amateur. Perhaps subliminally, many of the songs worry over the passage of time - particularly the change of seasons - and fickle male attention. вЂњThe Ghost Who WalksвЂќ was a taunting childhood nickname for the alabaster-skinned Ms. ThereвЂ™s no overt autobiography in the songs. White produced it as a backdated music-hall waltz, with tinny oompah piano and a vaudeville quaver in the vocals (among the few that show Ms. Garniez take a long, dark view in вЂњ100 Years From NowвЂќ - вЂњIt will not matter then, my dear/If weвЂ™ve ever loved at allвЂќ - and Mr. The arrangements arenвЂ™t fancy, but they are attentive to the implied drama of songs like вЂњA Thief at My Door,вЂќ which starts out sparse but suddenly crescendos midway through with a fearful urgency. Elson and Jackson Smith, who is PattiвЂ™s son and the husband of Meg White from the White Stripes). The tootling keyboards and guitar echoes in the albumвЂ™s first songs soon give way to pedal-steel guitar, fiddle and acoustic guitars (by Ms. WhiteвЂ™s production provides old-fashioned atmosphere, heading toward Celtic-Appalachian roots by way of reverb-loving 1960s rock.

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White appreciated her traditional-sounding melodies and lyrics like these, from вЂњStolen RosesвЂќ: вЂњI was old before I learned to be young/Stone cold till I learned how to cry.вЂќ Elson and her husband wouldnвЂ™t be the first couple to share musical tastes, and it makes sense that Mr. (On the album Rachelle Garniez, from Citizens Band, helped write some songs and plays organ and accordion.) Ms.

Elson the benefit of the doubt, for the last five years she has been making music with the Citizens Band cabaret troupe in downtown New York. The history of models in rock has been downhill since Grace SlickвЂ™s tenure with Jefferson Airplane, despite the dance-club presence of Grace Jones. ElsonвЂ™s songs - tales of mortality and faithless love, set to waltzes and countryish rock - in the shadow of her husbandвЂ™s analog-loving Americana. Elson is the redheaded English supermodel whoвЂ™s married to Jack White of the White Stripes, the Raconteurs and the Dead Weather. Karen ElsonвЂ™s debut album, вЂњThe Ghost Who Walks,вЂќ has too clear a back story to claim down-home authenticity.