#keith jarrett quartet

[shihlun]

Keith Jarrett, Charlie Haden, Paul Motian and Dewey Redman.

At the backstage of Kosei Nenkin Hall, Tokyo, 1974.

Photo by Yuzo Satoh.

[jazzdailyblog]

The Brilliance of Keith Jarrett: A Jazz Legend

Introduction: Keith Jarrett is a name synonymous with virtuosity, innovation, and boundless creativity in the world of jazz. Born seventy-nine years ago today on May 8, 1945, in Allentown, Pennsylvania, Jarrett’s musical journey began at a young age. His prodigious talent was evident early on, and he quickly established himself as a gifted pianist and composer. Early Career and Formation of the…

[doomandgloomfromthetomb]

Ornette Coleman - Berliner Jazztage 1971

Jay Korber is on a roll over on YouTube lately, sharing some true treasures for us mere mortals. Exhibit A: this radical 44 minutes of Ornette Coleman's quartet in full color in 1971 — looking great, sounding great, being great. Ornette is the guy in charge, of course, but this really feels like a band, especially with the addition of Dewey Redman on second sax.

“I loved the way Dewey played,” Charlie Haden told Ethan Iverson a while back. “He had a beautiful sound that blended with Ornette. I was surprised that Ornette would get another saxophonist, but it had to be Dewey. There’s only a very few musicians that experience the way of improvising that comes from Ornette’s concept. When Keith [Jarrett] heard Dewey, he came up to me and said, 'Introduce me to that saxophonist!'”

More Ornette? Oh yeah. Canary Records recently posted the hard-to-come-by Chappaqua Suite. Get it while it's hot.

[slackville-records]

The Song My Lady Sings', Molde Jazz Festival 1966, performed by the legendary Charles Lloyd Quartet, with

Charles Lloyd - ts Keith Jarrett - p Cecil McBee - b Jack DeJohnette - dr

[joshhaden]

Eyes Of The Heart (1979, ECM) is the final Keith Jarrett "American Quartet" LP to be issued. w/ my father, saxophonist Dewey Redman, drummer Paul Motian. Recorded live in 1976.

[projazznet]

R.I.P.  PALLE DANIELSSON

Nils Paul "Palle" Danielsson ( 15 October 1946 - 18 May 2024) was a Swedish jazz double bassist born in Stockholm, Sweden. From 1974 to 1979, he was a member of Keith Jarrett's quartet. He was the brother of pianist Monica Dominique.

Barney Wilen / Philip Catherine / Palle Danielsson – Recado

Palle Danielsson – bass Philip Catherine – guitar Barney Wilen – saxophone

Photo: Roberto Cifarelli (https://www.robertocifarelli.com/)

[aquariumdrunkard]

Soft Machine :: Live At Jazz Bilzen

Dig into this priceless footage of Soft Machine performing an early take of Robert Wyatt’s magnum opus, “Moon in June”. With bassist Hugh Hopper rounding out the trio (following the departure of Kevin Ayers), this Wyatt/Ratledge/Hopper line-up is the force behind Volume Two and “Moon in June” landing spot, Third, in which the band plunged further into merging obtuse psychedelia with their singular brew of jazz fusion. Joined by the likes of the Ornette Coleman Quartet, Shocking Blue and Keith Jarrett, Jazz Bilzen might have been the perfect setting for the peak of this seminal trio.

[rastronomicals]

4:10 PM EDT March 14, 2024:

Charles Lloyd Quartet & Keith Jarrett -   "Days And Nights Of Waiting" From the bootleg Parigi, 1967 (1994)

Last song scrobbled from iTunes at Last.fm

File under: Jazz

[theloniousbach]

CONSIDERING KEITH JARRETT’S AMERICAN QUARTET

At the end of February, pianist/critic Ethan Iverson called his Transitional Technology/Do the Math readers’ attention to an YouTube interview with Keith Jarrett conducted by Rick Beato. Besides archival performances, commentary, and conversation, there were incredibly poignant latter-day one handed performances. Post-strokes the genius is still there, but it is cut literally in half.

Keith Jarrett was hugely influential on me as a new jazz fan. As with so many, that he played with Miles Davis (electric piano and organ (!?!) on at Fillmore and Live-Evil) put him on my radar. I had the Bremen/Lausanne solo concerts even before the justly legendary Koln. I had Belonging by the European Quartet and Reflections and Fort Yawuh with Dewey Redman, Charlie Haden, and Paul Motian. I also really liked the album with Gary Burton from this same period. More on that later.

I liked my albums and played them frequently. When the 10 discs of Sun Bear came out as the next solo concerts, that was too expensive for me to be a completist. As remarkable as Bremen/Lausanne and Koln were, I felt I knew what Jarrett was up to. Those vamps, melodies, gospel elements, free breakdowns were also present in the band records. It was all conceptually fascinating, but the experiments and juxtapositions were always adventurous but not always successful. In the moment, there too I thought I had a bead on what was going on, but didn’t think I needed more.

When I returned to the music, the Standards Trio with Gary Peacock and Jack DeJohnette better suited my aesthetic. I found “my” albums again and gave them a single fond refamiliarizing listen. I have now listened to all the American Quartet albums and a 3 1/2 hours playlist derived from Iverson’s extensive, tune-by-tune review of the band’s entire output. He is quite impressed with the later Shades of Jazz and some of Bya-Blue too.

But with those exceptions, I don’t think I missed that much and so bristle a little bit at the suggestion that this was the last great band. As a contrarian, I nominate the Dave Holland Quintet and maybe Woody Shaw’s band. But it was something special—a young phenom recruits the elders Paul Motian from THE Bill Evans Trio and Dewey Redman and Charlie Haden from Ornette Coleman and ambitiously mashes them up with elements of his own aesthetic from the solo concerts.

It’s an interesting mix—Motian’s free sense of time up against Haden’s solidity with Redman’s earthy primitivism at the service of Jarrett’s capacious vision. Again, it’s not always successful, but they are unavoidably interesting.

Iverson doubles down on a judgment drawn from initial reportage that Jarrett didn’t do his bebop homework because of this:

“In the Beato video, Jarrett says that when he was finding his voice, he didn’t want to play modal like McCoy Tyner. He then says he wanted to be more “Bach-ian,” meaning voice-leading in the contrapuntal European tradition like Bach.”

So, yes, Jarrett has a cerebrality that maybe wears thin or that prompts admiration first with affection following—or not.

But the other interesting idea is that there is a Midwestern “country” or at least folk aesthetic that draws on major chords. Iverson draws a line that also includes Pat Metheny, Charlie Haden, Gary Burton, and even Ornette—and maybe Fred Hersch from Cincinnati belongs too. And that makes the Jarrett/Burton album stand out as probably the best Jarrett band album. Burton and Steve Swallow with his compositions structure and rein in Jarrett while he adds to a tough appealing set.

I am left after this valuable exercise with fond memories and admiration for Keith Jarrett, but my affection still lags.

[onetwofeb]

Keith Jarrett American Quartet Boston 1974 (Complete Bootleg)

[posttexasstressdisorder]

Extremely dumb is right.

"Oh yeah, some guy is going ham on a clarinet. Dave Burkbeck Quartet."

He's "going ham" on a sax. And it's Dave Brubeck.

And you forgot a few.

If it sounds like Charlie Brown, it's Vince Guaraldi.

If it sounds like some guy talking to himself it's Bill Evans.

If it sounds like needless but pleasant noodling it's Chick Corea.

If it sound like needless but unpleasant noodling it's Keith Jarrett.

An extremely dumb guid to “Which famous 60’s/70's Jazz man is that?”

1, Is it Piano lead or Bass lead? If piano go to question two. If brass question three.

2, Does the Pianist sound like he’s taken all the acid, or is there a guy making love to a clarinet?

Oh yeah: he’s taken all the acid alight. Is… is he okay? Thelonious Monk.

Oh yeah, some guy is going ham on a clarinet. Dave Burkbeck Quartet.

Neither of the above: Duke Ellington.

3, If brass lead: is it Louis Armstrong? If Yes, it’s Louis Armstrong. If no, question four.

4, Does the Trumpet player make you feel sad? Even, dare I say, Blue?

Almost? Chet Barker

Kind of? Miles Davies.

If no, question five.

5, Is the trumpet player trying to blow your face clean off? Like, actively trying to kill the first row of the audience? Dizzy Gillespie.

It’s brass led, but Sax not Trumpet.  

Okay, question 6, isolate the stings: is Charles Mingus doing what he’s actually paid to do in the back of the ensemble, or is he dicking around and seeing how far a man can take a double bass before his band-mates kill him?

Seems to be playing normally: Charlie Parker

He’s fucking around in F minor, and also that Bari sax is filthy! The Mingus Big band, with Ronnie Cuber on the Sax.

[sheetmusiclibrarypdf]

Keith Jarrett - The Art of Improvisation COMPLETE (full 2005 documentary, with extra interviews)

Keith Jarrett - The Art of Improvisation COMPLETE (full 2005 documentary, with the extra interviews) Video Link:Best Sheet Music download from our Library.Please, subscribe to our Library. Thank you!Directed and narrated by Mike Dibb. Program consultant; Ian Carr.All About Jazz reviewBrowse in the Library:Best Sheet Music download from our Library.

Keith Jarrett - The Art of Improvisation COMPLETE (full 2005 documentary, with the extra interviews) Video Link:

https://www.youtube.com/watch?v=_fB5YXgNX-w

"In this in-depth portrait of one of the world's superstars of Jazz, pianist Keith Jarrett talks about 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." "With, in order of appearance, Keith Jarrett, Manfred Eicher, Gary Peacock, Jack DeJohnette, Steve Cloud, Scott Jarrett, George Avakian, Gary Burton, Toshinari Koinuma, Chick Corea, Charlie Haden, Dewey Redman, Rose Anne Jarrett and Palle Danielsson." Directed and narrated by Mike Dibb. Program consultant; Ian Carr. Keith Jarrett in extended interview about his work illustrated by numerous tv clips of the musician in performance over the years and with interviews by colleagues Ian Carr, Miles Davis, Manfred Eicher, Gary Peacock, Jack DeJohnette, George Avakian, Gary Burton, Chick Corea, Charlie Haden, Dewey Redman, Palle Danielsson and Jon Christensen. (Personnel on Camera)

All About Jazz review

While he can often engender all manner of contention and argument, it's unquestionable that Keith Jarrett is one of the most significant pianists to emerge in the second half of the 20th Century. An artist who has done it all — performed his own sometimes lyrical, sometimes free-spirited compositions with two groundbreaking quartets in the '70s, taken solo improvisation to a whole new level with a series of important recordings including the classics Facing You and The Köln Concert; contributed a fresh spontaneity to the Great American Songbook with his Standards Trio. Tackled the challenging classical repertoires of Bach, Mozart and Shostakovich and composed his own classical works; and played in landmark groups including Charles Lloyd in the '60s and Miles Davis in the '70s — Jarrett is also more than a little enigmatic. Fastidious, perfectionist and, some might argue, highly controlled in his life, Jarrett paradoxically defines the concept of pure abandon in his playing. With a life's work that, classical repertoire aside, has always been about spontaneous creation, Jarrett is in an especially capable position to shed light on the true meaning of improvisation. And so, British producer/director Mike Dibb, responsible for '02's The Miles Davis Story, has fashioned a new documentary which, while never explicitly defining what that elusive meaning is, nevertheless manages — after 85 minutes and a series of remarkably erudite interviews with Jarrett and those who have been close to him over the past 30 years — to create a vivid impression that is both inspirational to aspiring musicians and uniquely clarifying to others who want to understand the process of how musicians create something out of nothing. Rather than present a chronological examination of Jarrett's life thus far, Dibb chooses, much like Jarrett's own work, to use a seemingly non-linear approach that focuses on Jarrett's improvisational process although, in the final analysis — just like Jarrett's extemporization — there is an arc. Beginning with the Standards Trio, then jumping back to his early days and ultimately ending with his European Quartet including saxophonist Jan Garbarek, bassist Palle Danielsson and drummer Jon Christensen, what becomes evident is that Jarrett's goal has essentially been the same as when, precociously, he would add both his own original compositions and spontaneous creations to the classical repertoire of recitals dating back as early as when he was only eight years old. Amongst the many interviews with past and present collaborators including Garbarek, Danielsson, Christensen, Charlie Haden, Gary Peacock, Jack DeJohnette, Chick Corea, Gary Burton and Dewey Redman, perhaps the most significant footage is that with ECM label owner and producer Manfred Eicher, with whom Jarrett found the perfect creative partner early in his career. Jarrett goes as far as saying that his albums are the product of two people — himself and Eicher — which is a significant distinction. That Eicher has recorded far more Jarrett performances than have ever been or will ever be released in order to catch those moments of pure magic, those performances where Jarrett alone or with a group is truly at the moment, also demonstrates the high standard and level of discernment that both he and Jarrett apply to deciding what will ultimately be commercially distributed. That Jarrett has, for 20 years, chosen only to document live performances, rather than record in the studio, is another distinction, one that points to a belief that the audience is, indeed, an integral part of each and every performance. Jarrett comes across as deeply committed, albeit unquestionably idiosyncratic and unapologetically purist; while he admits to enjoying his time with Miles Davis — the only time in his career where he totally gave up acoustic piano for electric instruments — he also dismisses his electric work by calling such instruments "toys. Few, if any, pianists other than Jarrett insist that a choice of pianos be provided for each performance, so that he can choose the best one for the concert hall. And the sheer physicality of his playing, along with his total and absolute involvement with the music to the exclusion of anything else, paints a unique picture — as does his level of communication. Virtually all concert footage — including performances with Lloyd, Miles, the Standards Trio, and the American and European Quartets — demonstrates the incredible interaction that exists at every performance. Jarrett has, in recent years, come under criticism with regard to the Standards Trio which, at over 20 years, is the longest-lasting group of his career — and, with rare exception, is one of the longest collaborations in the jazz period. Some say that the group has lost its creative edge. But watching the footage of the trio, and listening to Jarrett, Peacock and DeJohnette discuss how little rehearsal takes place — in fact, rehearsals typically only occur in sound checks before concerts, and it's not uncommon for the trio to work on something at a sound check and never actually play it in concert — one is truly drawn into the sense of adventure applied to every performance. And the performance footage, in concert with the interview clips, manages to demonstrate the kinds of risks the trio take with each and every tune; how any one of the members can suggest a new direction with complete confidence that the others will follow. By the time Dibb's documentary reaches its end, one may not be able to explicitly define the art of improvisation, but there are profound conclusions implicitly reached. And the documentary compels one to either play some Jarrett recordings or, if Jarrett's music is new to the viewer, to go out and find some. The level of excitement and discovery is so vivid that even those who have become jaded with Jarrett in recent times may find themselves with renewed interest. While some bemoan Jarrett's abandonment of writing, what becomes clear — and Jarrett articulates this at one point — is that every performance involves the act of composition. And that, perhaps more than anything, is the true meaning of improvisation. Visit Keith Jarrett on the web. Interviews with: Keith Jarrett, Manfred Eicher, Gary Peacock, Jack DeJohnette, Steve Cloud, Scott Jarrett, George Avakian, Gary Burton, Tashinari Koinuma, Chick Corea, Charlie Haden, Dewey Redman, Rose Anne Jarrett, Jan Garbarek, Jon Christensen, Palle Danielsson Chapter Listing: Essentially an Improviser; Three is Not a Crowd; Small Hands; A Potential Star; Moments to Echo; Solo; Invader in the Ranks; Sounds and Pulses; Musical Seduction; The European Group; Sacrifices; Epilogue Bonus Features: The Keith Jarrett Trio, Live in Concert perform "Butch and Butch ; Extra interviews with Keith Jarrett, Gary Peacock and Jack DeJohnette. Read the full article

[jazzdailyblog]

McCoy Tyner: The Sonic Alchemist of Jazz

Introduction: McCoy Tyner, the legendary jazz pianist, left an indelible mark on the genre, shaping its sonic landscapes with innovative brilliance. Born eighty-five years ago today on December 11, 1938, in Philadelphia, Pennsylvania, as Alfred McCoy Tyner, his journey through the realm of jazz began as a young prodigy, hinting at the extraordinary musical legacy he would later create. Early…

[pastdaily]

Charles Lloyd - Live In Stockholm - 1966 - Past Daily Downbeat

The legendary Charles Lloyd and his quartet, featuring Jack De Johnette and Keith Jarrett in concert from Stockholm, recorded on April 29, 1966 – click on the link at the Past Daily site and dig the concert.

[lamilanomagazine]

La Spezia: al via alla 55^ edizione del Festival Internazionale del jazz

La Spezia: al via alla 55^ edizione del Festival Internazionale del jazz. Alla 55^ edizione del FESTIVAL INTERNAZIONALE DEL JAZZ DELLA SPEZIA, in programma dal 25 luglio al 2 agosto in Piazza Europa, in calendario grandi nomi del panorama jazz internazionale: - 25 Luglio STANLEY CLARKE, - 26 Luglio THE MANHATTAN TRANSFER (50° anniversario e Final World Tour); - 27 Luglio EARTH, WIND AND FIRE EXPERIENCE BY AL MCKAY CON GREG MOORE, - 28 Luglio DOCTOR 3, 30 Luglio AL DI MEOLA, 02 Agosto Omaggio ad Astor Piazzolla con DANIELE DI BONAVENTURA E LA HYPERION ENSEMBLE. Il FESTIVAL INTERNAZIONALE DEL JAZZ DELLA SPEZIA è prodotto dal Comune della Spezia, Fondazione Carispezia, Società dei Concerti ETS; con il patrocinio di Regione Liguria e il sostegno dell'Autorità di Sistema Portuale del Mar Ligure Orientale. Main Sponsor: Iren SPA – Partners: MBDA, PA Digitale. 18 Luglio 1969 La Spezia. Questa è la data che segna l'avvio del Festival jazz nella città del Golfo dei Poeti che quest'anno celebra la sua 55^ Edizione e vanta l'onore di essere la manifestazione, nel suo genere, più longeva d'Italia. Nato da un'idea di Tiberio Nicola, ha visto susseguirsi sul palco artisti di fama internazionale, da Mingus a Keith Jarrett, Weather Report, Bollani, ma anche grandi nomi non legati espressamente al genere come quello di BB King, Mogol o Kronos Quartet. Il sindaco della Spezia Pierluigi Peracchini dichiara: "La cinquantacinquesima edizione del Festival Internazionale del Jazz della Spezia sta per iniziare e la città è pronta per ospitare i grandi artisti di fama internazionale che saliranno sul palco di piazza Europa. Questa manifestazione è ormai una tradizione perché è una delle protagoniste dell'estate spezzina con oltre mezzo secolo di storia, grandi nomi e successi, che porta energia, creatività e divertimento attraverso il linguaggio universale del jazz. Ringrazio tutti coloro che hanno reso possibile questa nuova edizione, gli artisti, i musicisti, i tecnici e tutti coloro che hanno lavorato per la sua organizzazione". "C'è molto più jazz di quanto si creda il jazz ha assunto un ruolo fondamentale nel processo di evoluzione della musica pop moderna, tanto da essere considerato come suo 'genitore'. Oggi, grazie anche alle sue contaminazioni, è un genere che può essere fruito non solo dagli appassionati, ma da un pubblico più vasto" dichiara il Direttore artistico Lorenzo Cimino. Biglietti in prevendita per i singoli concerti disponibili su questo link. STANLEY CLARKE: È stato quattro volte vincitore del Grammy Award e salirà sul palco con la band 4EVER composta da Jeremiah Collier alla batteria, Jahari Stampley piano e tastiere, Colin Cook alla chitarra, Emilio Modeste al sassofono. Clarke è considerato uno dei bassisti più influenti degli anni '70 a livello mondiale. Registrando 19 album in tutta la sua carriera, ha sperimentato molto e, in realtà, si è tenuto abbastanza scostato dal genere che (ai suoi esordi a New York) lo ha messo al fianco di mostri sacri come Gil Evans, Art Blakey, Dexter Gordon e tanti altri. THE MANHATTAN TRANSFER: Data che rientra nel Word Tour con il quale lo storico gruppo si congeda definitivamente dalle scene musicali. Sarà quindi una serata dal forte impatto emozionale quella nella splendida cornice di Piazza Europa. Il gruppo statunitense è dal 1998 presente nella Vocal Group Hall of Fame. Ad aprire il concerto sarà la Jazz Vocal Esemble del Conservatorio "G.Puccini" di La Spezia con Michela Lombardi. Ospite Karima con la direzione di Pietro Gaddi. EARTH, WIND AND FIRE EXPERIENCE BY AL MCKAY CON GREG MOORE: L'apertura del concerto sarà affidata a Joe Castellano Super Blues & Soul Band. Con più di 40 anni di carriera i numeri maturati dagli Earth wind and fire sono imponenti: hanno venduto oltre 90 milioni di dischi, vinto diverse volte i Grammy Awards (ottenute 20 nomination e vinte 6) e gli American Music Awards (12 nominations e vinte 4). Sono inoltre presenti nella Rock & Roll Hall of Fame e possono vantare una stella nella celebre Hollywood Walk of Fame di Los Angeles. DOCTOR 3: Il trio è composto da Danilo Rea al pianoforte, Enzo Pietropaoli al contrabbasso, e Fabrizio Sferra alla batteria. La formazione è nata nel 1997 con un disco ('The tales of Doctor 3') che l'anno successivo era già citato dalla rivista Musica Jazz come il miglior album italiano. L'impronta e lo stile fortemente riconoscibile della formazione li ha portati a essere decretati per ben tre anni (1999, 2001, 2003) il Miglior gruppo Jazz italiano. AL DI MEOLA: Atteso protagonista di quest'edizione, considerato un genio assoluto della chitarra, Al Di Meola nella sua carriera esplora diversi stili, tra i quali spicca il jazz fusion dalle influenze latine. Non solo solista, vanta numerose collaborazioni come quella con il gruppo Return To Forever (con Chick Corea, Stanley Clarke e Lenny White), il celebre trio di chitarra acustica con i colleghi virtuosi John McLaughlin e Paco de Lucia e il trio Rite of Strings con il bassista Clarke e il violinista Jean-Luc Ponty. DANIELE DI BONAVENTURA con la HYPERION ENSEMBLE omaggeranno il grande compositore e musicista argentino Astor Piazzolla. L'Unione di jazz e tango darà il via a uno spettacolo unico che chiuderà la 55° edizione del Festival del Jazz. La carriera artistica del marchigiano Daniele Di Bonaventura vanta, dagli esordi, circa una 30na di dischi pubblicati per editori ed etichette discografiche di tutto rispetto nel panorama internazionale. Ha suonato, registrato e collaborato con tantissimi artisti tra i quali Enrico Rava, Paolo Fresu, Oliver Lake, David Murray. La Hyperion Ensemble, dal canto suo, vanta più di 1000 concerti in giro per il mondo, portando il suo Tango unico e totalmente immersivo.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[jazztracks]

Puntata 141

Sam Gendel feat. Me'Shell NdegéOcello → Anywhere

Hank Jones → Willow Weep for Me

Chet Baker → D.S. Dilemma 

Florian Ross → Sea Greene

Choice quartet → Sciara Istanbul 36

Ornette Coleman → Check Out Time

Keith Jarrett → All the Things You Are

Will Vinson → Things

Jo Lawry → You’re the Top