The reason to mention the "particulars" of this document of informal sessions is because Keith Jarrett went to the trouble of doing so in his liner notes: they came about in the aftermath of him and Charlie Haden playing together during a documentary film about Haden. The duo, who hadn't played together in over 30 years, got along famously and decided to do some further recording in Jarrett's home studio without an end result in mind. The tapes sat – though were discussed often – for three years before a decision was made to release them. Jarrett used his home Steinway instead of his usual concert Boisendorfer.
It's an intimate, home-studio recording of love songs – deep, almost painfully heartfelt – and so good it will be sure to top most best-of lists. There's no tricksiness, just the woody thump of Haden's bass adding authority to Jarrett's tender, faithful chording. "For All We Know" is a Desert Island Discs cert; "Body & Soul" is done almost jauntily; the closing "Don't Ever Leave Me" a bitter sweet miracle. If you buy only one album this year, etc. ~Phil Johnson in The Independent, 2 May 2010
Reissue. Comes with new liner notes. This was the first real indication to the world that Keith Jarrett was an ambitious, multi-talented threat to be reckoned with, an explosion of polystylistic music that sprawled over two LPs (now squeezed onto a single CD). Using his classic quartet (Dewey Redman, Charlie Haden, Paul Motian) as a base, Jarrett occasionally adds the biting rock-edged electric guitar of Sam Brown and always-intriguing percussionist Airto Moreira, and indulges in some pleasant string and brass arrangements of his own, along with some grinding organ smears and acceptable soprano sax.
This odd anthology from Atlantic reissues selections from trio dates recorded during the 1960s by Keith Jarrett, Chick Corea, and Herbie Hancock, along with otherwise unobtainable early recordings by McCoy Tyner. Jarrett is joined by Charlie Haden and Paul Motian on two originals, both of which show the obvious influence of Bill Evans. Chick Corea is accompanied by Steve Swallow (on acoustic bass rather than the electric bass he switched to a short time later) and Joe Chambers. The pianist's "Tones for Joan's Bones" is swinging, but not nearly as driving as his works in the decades to follow, while his reworking of the show tune "This Is New" features Joe Farrell and Woody Shaw; both tracks also show the influence of Bill Evans.
Here is another LP helping from the Keith Jarrett "American" Quartet's last recording session – one that is almost as consistent in quality as its predecessor. The happy-go-lucky groove of the title track perfectly expresses its name, with Jarrett blithely singing along; both Dewey Redman and Charlie Haden get plenty of solo space on Redman's "Gotta Get Some Sleep" and Haden's "Pocket Full of Cherry" (a pun referring to Haden cohort Don Cherry); and Paul Motian remains a marvelously flexible drummer. Moreover, there is another fascinating swatch of Middle Eastern experimentation on "Pyramids Moving."
There's a nicely warming vibe on this album from Keith Jarrett – a sound that's sometimes a bit more laidback and personal, but which is still carried off with familiar associates Dewey Redman on tenor, Charlie Haden on bass, and Paul Motian on drums! Most of the tunes are shorter compositions built around gently lyrical lines – somewhat introspective, and a bit less organic than in years past – but in a way that more than makes up for that difference with their own inner beauty. Titles include "Konya", "Rainbow", "Trieste", "Fantasm", "Yahllah", and "Byablue".
A lost gem from Keith's "with horns" period – a quintet session from the mid 70s, recorded with a group that features Dewey Redman on tenor, plus Charlie Haden on bass, Paul Motian on drums and percussion, and Guilherme Franco on additional percussion. The feel is a bit straighter than Jarrett's excellent Death & The Flower set – as the tunes have a highly rhythmic component, and make good use of the extra percussion to create a flowing, organic groove. There's still a nice loose feel overall, though – almost a take on the loft jazz sound, especially at the moments when Jarrett goes a bit outside on piano. Titles include "Shades Of Jazz", "Southern Smiles", "Rose Petals", and "Diatribe".
Dark and moody work from Keith Jarrett – a record that builds strongly off his ensemble feeling of the Impulse years, but which also seems to carry a bit more of the introspective vibe he was building up in some of his more stripped down solo recordings! The group's still a great one here – with Dewey Redman on reeds, Charlie Haden on bass, Paul Motian on drums, and Guilhermo Franco on percussion – and the tunes, although long and somewhat free, still show Jarrett's great ear for a lyrical melody – carried off wonderfully without cliche, and still with more sharp edges than you might expect. Titles include "Rotation", "Everything That Lives Laments", "Flame", and "Mysteries".
Prime Keith Jarrett on Impulse Records – and a still-wonderful session that features work by Dewey Redman, Charlie Haden, and Paul Motian! The sound here is a bit more focused than on some of Jarrett's earlier Impulse sides – but still has that rich and organic sound overall – blending instruments from all players with a sound that's spontaneous and flowing. Jarrett himself plays a bit of percussion and wood flute – and Redman also plays maracas and musette! Tracks are long, and include "Kuum", "Inflight", "Vapallia", and "Backhand".
In this in-depth portrait of one the world's superstars of jazz, pianist Keith Jarrett talks the range of his music, the importance of improvisation, the great artists he has worked with, and about the highs and lows of his life. Further insights are provided by fellow musicians, family members and other musical associates. Incorporating recordings and rare archive footage of concerts dating back to the 1960s and including such greats as Miles Davis and Charles Lloyd, this first-ever major documentary has been made with the full cooperation of Keith Jarrett himself.