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.
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.
Jarrett's 1970s albums may have confused some purists but they should be a goldmine for contemporary fans of all stripes who like improvised music. El Juicio is an excellent early Jarrett album and finds him in typically eclectic form with his classic American quartet. I nominate the opener, "Gypsy Moth," as the best piece on the record. Sounding a little like a more confident version of "Lisbon Stomp," from Jarrett's 1967 debut album Life Between the Exit Signs, Jarrett first whips up a rollicking theme on the piano and then switches to soprano sax towards the end, the rhythm section swinging hard throughout.
With saxophonist Jan Garbarek and bassist Charlie Haden along for the ride, Keith Jarrett indulges in three slow, rambling, meditative, vaguely neo-classical concertos for piano and string orchestra. While a few of Jarrett's and Garbarek's passages here and there have a syncopated jazz feeling, this is mostly contemporary classical music, perhaps even somewhat ahead of its time (it might fit in with the neo-Romantic and minimalist camps today). However, although this music can be attractive in small doses, the lack of tempo or texture contrasts over long stretches of time – particularly the nearly 28-minute "Mirrors" – can be annoying if you're not in the right blissful mood. Mladen Gutesha and the Stuttgart Radio Symphony Orchestra perform the string parts with what can only be described as commendable patience.
Recorded at his home studio in 1986, the double album No End illuminates hitherto undocumented aspects of Keith Jarrett's music. He is heard on electric guitars, electric bass, drums and percussion, overdubbing tribal dances of his own devising: "Somehow something happened during these days in the 80s that won't ever be repeated," he writes in his liner notes. "There was really, to my knowledge, no forethought or composition - in the typical sense - going on; just a feeling or a rhythmic idea or a bass line concept or melody. None of this was written down."
Standards is a two-volume set of jazz albums released by the Keith Jarrett trio in 1983. Originally released by ECM, they have been multiply re-issued, including by Universal/Polygram. The two volumes present performances of pianist Keith Jarrett with Gary Peacock on bass and Jack DeJohnette on drums. Vol. 1 reached #14 on the Billboard Jazz Albums charts. In 2008 the two albums, along with 1983's Changes, were collected into a boxed set, Setting Standards: New York Sessions.
Keith Jarrett's numerous volumes of improvised solo piano recordings are all treasure troves of spontaneous music making. Documented since the 1970s, they reveal the opening of his music as it readily embraces classical and sacred music influences, filters out what is unnecessary in his technique, and encounters the depth and breadth of the jazz tradition and his own unique abilities as a composer. The four discs in A Multitude of Angels were recorded in as many Italian cities during the last week of October 1996 – some 20 months after the concert captured on La Scala.