Throughout the '70s Keith Jarrett maintained two contrasting ensembles, one American based, the other Scandinavian. This is an album by the latter quartet, which had previously recorded the warm and winning BELONGING in 1974. 1978's MY SONG is aptly titled, as the six Jarrett compositions do indeed have the individual characteristics and bearing of songs. Infused with elements of folk and gospel, the music has a friendly resonance that aligns it with the likes of Horace Silver. While not as overtly soulful as Silver, the quartet'sinterpretations celebrate the power of melody and harmony. Garbarek's crystalline tone in particular flies through the rhythmic architecture like a bird over a winter landscape.~~ By Amazon.
My Foolish Heart is an anniversary release celebrating 25 years of the Keith Jarrett, Gary Peacock, and Jack DeJohnette trio's traveling and performing together despite the rich and varied individual careers of its members. Recorded in 2001 at the Montreux Jazz Festival, Jarrett held the tape close to the vest until what he felt was the right time for release – whatever that means. The bottom line is, listeners are very fortunate to have it. The official live offerings by this group have always been crystalline affairs of deep swinging communication, no matter the material. Not only is My Foolish Heart no exception, it is perhaps the standard by which the others should be judged.
Thanks in no small part to ECM founder Manfred Eicher's patience and indulgence, here we have another of Keith Jarrett's myriad of "special projects" – two CDs of music recorded on a clavichord. This carries Jarrett's anti-electric crusade to a real extreme, the clavichord being a keyboard from J.S. Bach's day, obsolete for over 200 years. The instrument produces a gentle pinging sound like a harpsichord crossed with a zither (the amplified Hohner Clavinet is the closest sound in our time), and Jarrett occasionally tries to stretch the instrument's limited possibilities, hammering percussively on the close-miked strings. Yet for the most part, Jarrett reins in his world-class technique in order to make unpretentiously minimal music on this ancient keyboard. Some of it sounds like folk music, some like new age contemplation, there are convincing neo-baroque musings, and a few of these untitled though numbered selections kick into a higher gear. Sometimes this music is charming; a lot of the time, it gets wearisome. But hey, they also laughed when Keith started putting out massive sets of solo piano…
Keith Jarrett weaves a special kind of spell in his improvisations, one somehow connected to a greater humanity, for though the music and playing are ethereal, one is never mistaken that they are anything but earthly. Jarrett is not a mere vessel, but a creative force of flesh and bone whose fingers speak in ways we can only understand without words. This live recording from Tokyo’s Suntory Hall expands that flesh, and feels so intimate it might as well have grown away from others in the cave of his private studio.
Keith Jarrett's first solo acoustic piano recording remains one of his best. At this point in late 1971, Jarrett had just started improvising completely freely. That does not mean that his solos were necessarily atonal but simply that they were not planned in any way in advance. The music on these eight improvisations are often quite melodic, very rhythmic and bluesy. This set makes for a perfect introduction to Jarrett's many solo piano recordings.