Keith Jarrett Trio – Live At Tagskaegeet Denmark (The Dylan Concert) (1969)

FrontCover1A surprising recording emerged late last week of the Keith Jarrett Trio playing Bob Dylan tunes. Apparently, back in 1968, Jarrett together with Paul Motian and Charlie Haden did a trio recording for Vortex [Vortex LP 2012] called Somewhere Before and recorded two Dylan numbers – My Back Pages and Lay Lady Lay. This long out-of-print record was issued on CD in 1990 and Amazon still lists it for sale but we haven’t tried yet.

Anyway, this live recording [the original LP was also a live recording but different time and place] is by a different trio that includes Gus Nemeth [bs] and Bob Ventrello [drms]. It took place a year later in Denmark and comes from a very good FM source. This is the fixed version with the correct speed.

What was Jarrett thinking playing Bob Dylan in Europe? Clearly the free jazz movement had failed to gather mass appeal, not that that was its intent. Even Miles Davis by ’69 was conceding that jazz was no longer “king” and concessions had to be made to rock music.

But the less than energised reading of the two Dylan tunes suggests that Jarrett was uncomfortable covering rock. It was to be a difficult time for jazz musicians. In hindsight, their golden age had passed and the ’70s offered a marriage of convenience called jazz fusion. Even worse, along came jazz lite and Kenny G.

Since that time even more concessions have been made. Classical music and jazz. A whole new constellation of jazz singers with an eye on pop singles. Jazz as conservative music. Whatever happened to the shock and awe of free jazz?

This was originally shared by ricola. In turn it was speed corrected by Perv/twat Production. Thanks to all who shared this rarity. Never officially released before. (Professor Red/Big O)

Alternate frontcovers:

AlternateFrontCovers

Personnel:
Keith Jarrett (piano, saxophone)
Gus Nemeth (bass)
Bob Ventrello (drums)

KeithJarrett1969

Tracklist:
01. Pretty Ballad (Jarrett) 5.57
02. Lay Lady Lay (Dylan) 4.42
03. Unknown Title 12.05
04. My Back Pages (Dylan) 7.01

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Keith Jarrett – The Köln Concert (1975)

FrontCover1The Köln Concert is a concert recording by the pianist Keith Jarrett of solo piano improvisations performed at the Opera House in Cologne (German: Köln) on January 24, 1975. The double-vinyl album was released in the autumn of 1975 by the ECM Records label to critical acclaim, and went on to become the best-selling solo album in jazz history, and the all-time best-selling piano album, with sales of more than 3.5 million.

The concert was organized by 17-year-old Vera Brandes, then Germany’s youngest concert promoter. At Jarrett’s request, Brandes had selected a Bösendorfer 290 Imperial concert grand piano for the performance. However, there was some confusion by the opera house staff and instead they found another Bösendorfer piano backstage – a much smaller baby grand – and, assuming it was the one requested, placed it on the stage. Unfortunately, the error was discovered too late for the correct Bösendorfer to be delivered to the venue in time for the evening’s concert. The piano they had was intended for rehearsals only and was in poor condition and required several hours of tuning and adjusting to make it playable.[8] The instrument was tinny and thin in the upper registers and weak in the bass register, and the pedals did not work properly. Consequently, Jarrett often used ostinatos and rolling left-hand rhythmic figures during his Köln performance to give the effect of stronger bass notes, and concentrated his playing in the middle portion of the keyboard. ECM Records producer Manfred Eicher later said: “Probably [Jarrett] played it the way he did because it was not a good piano. Because he could not fall in love with the sound of it, he found another way to get the most out of it.”

Jarrett arrived at the opera house late in the afternoon and tired after an exhausting long drive from Zürich, Switzerland, where he had performed a few days earlier. He had not slept well in several nights and was in pain from back problems and had to wear a brace. After trying out the substandard piano and learning a replacement instrument was not available, Jarrett nearly refused to play and Brandes had to convince him to perform as the concert was scheduled to begin in just a few hours.[6] The concert took place at the unusually late hour of 23:30, following an earlier opera performance. This late-night time slot was the only one the administration would make available to Brandes for a jazz concert – the first ever at the Köln Opera House. The show was completely sold out and the venue was filled to capacity with over 1,400 people at a ticket price of 4 DM ($1.72). Despite the obstacles, Jarrett’s performance was enthusiastically received by the audience and the subsequent recording was acclaimed by critics. It remains his most popular recording and continues to sell well, decades after its initial release.

KeithJarrett1975

The performance was recorded by ECM Records engineer Martin Wieland, using a pair of Neumann U-67 vacuum-tube powered condenser microphones and a Telefunken M-5 portable tape machine. The recording is in three parts: lasting about 26 minutes, 34 minutes and 7 minutes respectively. As it was originally programmed for vinyl LP, the second part was split into sections labelled “IIa” and “IIb”. The third part, labelled “IIc”, was actually the final piece, a separate encore.

A notable aspect of the concert was Jarrett’s ability to produce very extensive improvised material over a vamp of one or two chords for prolonged periods of time. For instance, in Part I, he spends almost 12 minutes vamping over the chords Am7 (A minor 7) to G major, sometimes in a slow, rubato feel, and other times in a bluesy, gospel rock feel. For about the last 6 minutes of Part I, he vamps over an A major theme. Roughly the first 8 minutes of Part II A is a vamp over a D major groove with a repeated bass vamp in the left hand, and in Part IIb, Jarrett improvises over an F# minor vamp for about the first 6 minutes.

KeithJarrett1975_03Subsequent to the release of The Köln Concert, Jarrett was asked by pianists, musicologists and others, to publish the music. For years he resisted such requests since, as he said, the music played was improvised “on a certain night and should go as quickly as it comes.”[9] In 1990, Jarrett finally agreed on publishing an authorized transcription but with the recommendation that every pianist intending to play the piece should use the recording itself as the final word. A new interpretation of The Köln Concert was published in 2006 by Polish pianist Tomasz Trzcinski on his album Blue Mountains. A transcription for classical guitar has also been published by Manuel Barrueco.

The album was included in Robert Dimery’s 1001 Albums You Must Hear Before You Die.

Subtle laughter may be heard from the audience at the very beginning of Part I, in response to Jarrett’s quoting of the melody of the signal bell which announces the beginning of an opera or concert to patrons at the Köln Opera House, the notes of which are G D C G A.

Unlike the other parts of this concert, Part IIc, the encore, was based on a precomposed tune, the form and melody of which can be found in certain Real Book compilations as “Memories of Tomorrow”. This was and remains common practice for Jarrett. Note, for example, that his encores for performances in Bremen (released on Solo Concerts: Bremen/Lausanne) and Tokyo (The Last Solo) are on the same vamp-based tune. He is also fond of closing his solo concerts with Tin Pan Alley standards, particularly “Over the Rainbow”. (by wikipedia)

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Recorded in 1975 at the Köln Opera House and released the same year, this disc has, along with its revelatory music, some attendant cultural baggage that is unfair in one sense: Every pot-smoking and dazed and confused college kid — and a few of the more sophisticated ones in high school — owned this as one of the truly classic jazz records, along with Bitches Brew, Kind of Blue, Take Five, A Love Supreme, and something by Grover Washington, Jr. Such is cultural miscegenation. It also gets unfairly blamed for creating George Winston, but that’s another story. What Keith Jarrett had begun a year before on the Solo Concerts album and brought to such gorgeous flowering here was nothing short of a miracle. With all the tedium surrounding jazz-rock fusion, the complete absence on these shores of neo-trad anything, and the hopelessly angry gyrations of the avant-garde, Jarrett brought quiet and lyricism to revolutionary improvisation. Nothing on this program was considered before he sat down to play. All of the gestures, intricate droning harmonies, skittering and shimmering melodic lines, and whoops and sighs from the man are spontaneous. Although it was one continuous concert, the piece is divided into four sections, largely because it had to be divided for double LP. But from the moment Jarrett blushes his opening chords and begins meditating on harmonic invention, melodic figure construction, glissando combinations, and occasional ostinato phrasing, music changed. For some listeners it changed forever in that moment. For others it was a momentary flush of excitement, but it was change, something so sorely needed and begged for by the record-buying public. Jarrett’s intimate meditation on the inner workings of not only his pianism, but also the instrument itself and the nature of sound and how it stacks up against silence, involved listeners in its search for beauty, truth, and meaning. The concert swings with liberation from cynicism or the need to prove anything to anyone ever again. With this album, Jarrett put himself in his own league, and you can feel the inspiration coming off him in waves. This may have been the album every stoner wanted in his collection “because the chicks dug it.” Yet it speaks volumes about a musician and a music that opened up the world of jazz to so many who had been excluded, and offered the possibility — if only briefly — of a cultural, aesthetic optimism, no matter how brief that interval actually was. This is a true and lasting masterpiece of melodic, spontaneous composition and improvisation that set the standard. (by Thom Jurek)

KeithJarrett1975_04

Personnel:
Keith Jarrett (piano)

Booklet1

Tracklist:
01. Part I 26.01
02. Part IIa 14.54
03. Part IIb 18.13
04. Part IIc 6.56

All compositions by Keith Jarrett

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Keith Jarrett – Sleeper Tokyo (1999 – 2012)

FrontCover1A previously unreleased live recording from the 1970s by a short-lived outfit that nonetheless managed to be one of the lastingly influential jazz groups of the era – the “European quartet” of Keith Jarrett (above), with the young Jan Garbarek on sax. Loose, exuberant, tender and edgy, it’s timeless. (The Guardian)
The double album Sleeper contains a previously unreleased live concert by Keith Jarrett’s European quartet from the ’70s, recorded at Tokyo’s Nakano Sun Plaza on April 16, 1979. Together with saxophonist Jan Garbarek, bassist Palle Danielsson, and drummer Jon Christensen, Jarrett performs seven of his own compositions: “Personal Mountains,” “Innocence,” “So Tender,” “Oasis,” “Chant of the Soil,” “Prism,” and “New Dance” — the latter song being the shortest here at seven minutes, while “Oasis” clocks in at over 28 minutes! As a companion piece to the live albums Nude Ants and Personal Mountains (both recorded the same year, even though the latter album was only released in 1989), Sleeper offers another noteworthy document of the creative interplay between these four musicians. (by Christian Genzel)

Booklet 08A
Probably the best live recording of the European Quartet. Realy powerfull, one of the best “new” releases of 2015. Sounds modern and far more in the moment, compared to loads of new popular jazz albums. This music screams for listening to it. And right it is.(Erik de Langkruis)

Tray1

Personnel:
Jon Christensen (drums, percussion)
Palle Danielsson (bass)
Jan Garbarek (saxophone, flute, percussion)
Keith Jarrett (piano, percussion)

Booklet 04A

Tracklist:

CD 1:
01. Personal Mountains 21.12
02. Innocence 10.47
03. So Tender 13.27

CD 2:
04. Oasis 28.13
05. Chant Of The Soil 14.52
06. Prism 11.15
07. New Dance 7.07

All compositions by Keith Jarrett

CD2A

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Various Artists – Jazz Fusion (1996)

FrontCover1Jazz fusion, fusion, or jazz rock is a musical genre that developed in the late 1960s from mixing funk and rhythm and blues rhythms with the electric instruments, amplified sound, electronic effects and playing styles of rock music together with jazz’s complex time signatures (which were derived from non-Western music) and jazz’s complex chord progressions and altered and extended chords. Fusion musicians typically create extended instrumental compositions based around a melody and a chord progression and lengthy solo improvisations. Fusion songs use brass instruments such as trumpet and saxophone as melody and soloing instruments. The rhythm section typically consists of electric bass (in some cases fretless), electric guitar, electric piano/synthesizer (in contrast to the double bass and piano used in earlier jazz) and drums. As with jazz forms that preceded fusion, all of the instruments–including the rhythm section instruments–are used as soloing instruments and all demonstrate a high level of instrumental technique.

FusionJazzThe term “jazz-rock” is often used as a synonym for “jazz fusion” as well as for music performed by late 1960s and 1970s-era rock bands that added jazz elements to their music. It is different from the UK Canterbury Scene’s progressive rock (“prog”) and other forms of prog-jazz fusion, in which extended prog instrumentals use improvisation and take on a jazz-influenced feel. After a decade of popularity during the 1970s, fusion expanded its improvisatory and experimental approaches through the 1980s, in parallel with the development of a radio-friendly style called smooth jazz. Experimentation continued in the 1990s and 2000s. Fusion albums, even those that are made by the same group or artist, may include a variety of musical styles. Rather than being a codified musical style, fusion can be viewed as a musical tradition or approach. (by wikipedia)

And this is just a sampler with Jazz Fusion … maybe it´s time for you to discover this kind of music … certainly not the worst idea. ! Most of the tracks were recorded during the Seventies … a golden decade for Fusion Jazz !

BackCover1Tracklist:
01. George Benson: Take Five (1974) (Desmond) 3.43
02. Herbie Hancock: Watermelon Man (1974) (Hancock) 5.00
03. Earth Wind & Fire: Love Music (1978) (Scarborough) 3.57
04. Astrud Gilberto: Zazueira (1971) (Ben) 3.42
05. Keith Jarrett: Common Mama (1972) (Jarrett) 8.12
06. Ned Doheny: To Prove My Love (1976) (Doheny) 4.50
07. Ramsey Lewis: Tequila Mockingbird (1977) (Dunn) 5.27
08. George Duke: Look Waht You Find (1979) (Duke) 4.46
09. Deodato: Super Strut (1973) (Deodato) 4.58
10. Stanley Clarke: Rock N Roll Jelly (1979) (Clarke) 2.36
11. Hubert Laws: Family (1980) (Laws) 7.30
12. Lee Ritenour: Theme From Three Day Of The Condor (1976) (Grusin) 4.07
13, Bill Withers: Use (1985) (Withers) 3.49
14. Santana: Tales Of Kilimanjaro (1981) (Santana/Peraza/Rekow/Pasqua) 3.29
15. Weather Report: Black Market (1976) (Zawinul) 6.14
16. Grover Washington Jr.: Love Like This (1992) (Roman/Cox) 4.49

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Keith Jarrett Trio – Paris (1972)

FrontCover1Pianist, composer, and bandleader Keith Jarrett is one of the most prolific, innovative, and iconoclastic musicians to emerge from the late 20th century. As a pianist (though that is by no means the only instrument he plays) he literally changed the conversation in jazz by introducing an entirely new aesthetic regarding solo improvisation in concert. Though capable of playing in a wide variety of styles, Jarrett is deeply grounded in the jazz tradition. He has recorded nearly 80 albums as a leader in jazz and classical music. And he has won the Down Beat Critics Poll as a pianist numerous times, including consecutively between 2001 and KeithJarrett19722008.

This concert of Studio 104 of the Maison de Radio France, preserved in the archives of Ina, was never broadcast in its entirety. A summit of generosity, lyricism, bubbling creativity… Keith Jarrett also played soprano saxophone, as he did at the time. The repertoire is mostly drawn from Birth and Expectations, recorded the previous year. (Thanks to cosmikd for sharing the tracks at Dime.)

Recorded live at Studio 104, Maison de la Radio, Paris, France; June 9, 1972
Excellent FM broadcast.

HadenJarrettPersonnel:
Charlie Haden (bass)
Keith Jarrett – piano, saxophone, flute, tambourine)
Paul Motian (drums)

Motian

Tracklist:

CD 1:
01. Coral 7.51
02. Forget Your Memories (And They’ll Remember You) 18.23
03. Take Me Back 9.33
04. Standing Outside 6.04
05. Track V 4.55
06. Piece For Ornette 6.02

CD 2:
01. Common Mama 13.08
02. Moonchild 7.34
03. The Magician In You 9.12
04. Follow The Crooked Path 12.37
05. Expectations 10.02
06. Applause 1.50
07. The Circular Letter (For JK) 6.56

All compositions by Keith Jarrett

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