Treasure Island (february 1974), with The Rich And The Poor, They created a warm, soothing ambience and organic structures out of the mutation and replication of minimal gestures, a musical example of self-organization and emergent properties. His ensemble work may have been intriguing, but these colossal improvisations were unique. The 13-minute Misfits, the 18-minute Fort Yawuh andīut the triple-LP Solo Concerts (july 1973) documented two completely improvised solo concerts, each more than one hour long. The American quartet delivered the live Fort Yawuh (february 1973), with The seven-minute A Pagan Hymn for solo piano,Ī 16-minute String Quartet Crystal Moment for four celli and two trombones, The 12-minute In the Cave In the Light for piano, percussion and string orchestra, The 19-minute Metamorphosis for flute and string orchestra, The double-LP In The Light album (february 1973), collecting various chamber pieces, offered the first clue to Jarrett's neoclassical ambitions: Ruta & Daitya (may 1971) was an exotic-sounding collaboration with Jack DeJohnette. His first solo acoustic piano album, Facing You (november 1971), was more articulate in defining his eclectic and visionary personality, that already absorbed influences ranging from gospel to classical music via cool jazz and free jazz, and metabolized them thanks to a melodic and visceral talent for filling the musical space like a living orchestra ( In Front, My Lady My Child, Lalene). Hamburg '72 (june 1972) documents the trio of Keith Jarrett, Charlie Haden and Paul Motian performing a 14-minute live version of Haden's Song For Che. Into lyrical reinventions of Latin jazz ( Common Mama), The second session, Expectations (october 1971), collapsed their talents The first session of his quartet with Haden, Motian and tenor saxophonist Dewey Redman (the "American Quartet") was documented on three albums: The Mourning of a Star (july 1971), containing the nine-minute The Mourning of a Star (without Redman), Birth (july 1971), with Spirit, and El Juicio (july 1971), with Gypsy Moth and the free-form jam El Juicio. In 1971 he made three sessions that set the standard for the rest of his career. Jarrett ( Fortune Smiles, The Raven Speaks), he returned to acoustic keyboards. Gary Burton & Keith Jarrett (july 1970), composed almost entired by Jarrett was briefly hired by Miles Davis in 1970 to play electric keyboards.Īfter leaving Davis' group and after the piano-vibraphone collaboration Having proven his passion for the styles of Bill Evans and Paul Bley, besides a familiarity with Ornette Coleman's free-jazz idiom, Restoration Ruin (march 1968) was a singer-songwriter album on which he played all the instruments. That recorded Life Between The Exit Signs (may 1967) and Jarrett formed his own trio with bassist Charlie Haden and drummer Paul Motian Pennsylvania-born pianist Keith Jarrett (1945) moved to New York in 1965.Īfter stints with Art Blakey and Charles Lloyd, Invocations/ The Moth and the Flame (1979), 6/10 ( Copyright © 2006 Piero Scaruffi | Terms of use) Keith Jarrett: biography, discography, review, ratings
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