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Keith Jarrett

Pianist, 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 2008.

Jarrett was born May 8, 1945 in Allentown, Pennsylvania. At the age of three he began playing piano. He undertook the study of classical music at age eight, and at 15 he studied formal composition before moving to Boston to study briefly at the Berklee College of Music. Still in his teens, Jarrett intended to further his academic work in Paris before deciding to move to New York in 1964 and become a jazz musician.

He entered the city's vibrant scene by sitting in with veteran and aspiring players at clubs, including the Village Vanguard. His first touring gig was with Art Blakey's New Jazz Messengers, where he remained until 1966. The lone recording with that band -- which also featured trumpeter Chuck Mangione -- was Buttercorn Lady, recorded live at the Lighthouse in Hermosa Beach. Jarrett joined Charles Lloyd's famed quartet in 1966. That band, which reflected the variety of changes taking place in jazz and popular music in general, achieved global success as both a recording and touring entity.

He left the group in 1968 and issued his first solo recording, Restoration Ruin, on the Vortex label. He played everything on the album including soprano saxophone, harmonica, drums, and guitar in addition to piano; he even sang. The album is mainly considered a curiosity in his catalog because it wasn't a jazz album, but a folk-rock recording. Regardless of how Jarrett regards it today, it stands as a brave undertaking from a young musician and paints an interesting view of his early thoughts in lieu of what he would accomplish later. Appearing the same year, he recorded Life Between the Exit Signs for Atlantic, where he led a trio whose rhythm section consisted of bassist Charlie Haden and Paul Motian. This group -- later a quartet with the addition of saxophonist Dewey Redman -- would record together for 11 years and attain the status of jazz legend for their dynamic, groundbreaking interplay and improvisation.

Jarrett played organ and electric piano with Miles Davis between 1970 and 1971, which resulted in Live at the Fillmore and Live/Evil. His work with Davis would also surface on the trumpeter's 1974 album, Get Up with It, and was beautifully documented on the box set Miles Davis: The Cellar Door Session 1970, which was issued in 2005. Jarrett also appeared on other artists' albums during the period, including Airto's Free, psychedelic pop duo Barbara & Ernie's Prelude To..., and soul singer Donal Leace's self-titled offering from 1972. Jarrett and Gary Burton issued their self-titled recording on Atlantic in 1971, the same year his trio released The Mourning of a Star.

The pianist briefly signed to Columbia, releasing one enduring album for the label, Expectations, in 1972 -- an album that featured his trio with guitarist Sam Brown and Airto. The year also proved fruitful for two other reasons. The first was Facing You, Jarrett's first solo piano recording for Manfred Eicher's young ECM label, an association that would become symbiotic by the end of the decade. As previously mentioned, Redman joined Jarrett's group in late 1971, and the first offering by the larger band was Birth, issued by Atlantic in 1972. The band also recorded for Impulse! during this time, issuing the highly regarded Fort Yawuh (1973), Treasure Island (1974), Death and the Flower and Backhand (1975), Mysteries (1976), ByaBlue (1977), and Bop-Be (1978). El Juicio (The Judgement) also appeared on Atlantic in 1975.

Jarrett's horizons were broadening considerably in the early '70s, and his association with ECM was deepening. While 1972 saw the release of Ruta and Daitya, a duet album with Jack DeJohnette, 1973 offered evidence of what would become iconic in the decades to come: the improvised Solo Concerts: Bremen & Lausanne. In 1975, Jarrett's double-live solo piano album The Köln Concert was released; its warmth, accessibility, and immense and enduring popularity have made it the best-selling solo piano recording in jazz history. His other solo piano works for ECM include Staircase, the ten-album Sun Bear Concerts, Moth and the Flame, Concerts, Paris Concert, Dark Intervals, Vienna Concert, La Scala, Carnegie Hall Concert, and Rio.

Jarrett began recording with a European group in the '70s, the second of his three groups that would become legendary. His European quartet included saxophonist Jan Garbarek, bassist Palle Danielsson, and drummer Jon Christensen; their debut, Belonging, appeared in 1974. Simultaneously, Jarrett remained busy with his American quartet and with recording experimentation. In the Light, which was released in 1974, was a double album that showcased his interest in composing modern classical music. His compositions were wide-ranging; among them were a string quartet, a brass quintet, and "Crystal Moment (Piece for Four Celli and Two Trombones)." He also recorded a pair of albums co-led with Garbarek, Luminescence (1975), where the pair were aided by an orchestral string section, and the popular Arbour Zena, which included Haden on bass as well as chamber strings. In 1976, the provocative Hymns/Spheres, a double album of improvisations played on an enormous 18th century organ in the Benedictine Abbey Ottobeuren, appeared on ECM.

The pianist's European quartet issued My Song in 1978, an album that brought more conservative jazz fans back to Jarrett's table, especially as it was surrounded by the releases of Bop-Be and The Survivor's Suite, the first of two releases by his American quartet to appear on ECM. That band's final album together, the live double album Eyes of the Heart, was released in 1979.

Jarrett kicked off the '80s with Celestial Hawk: For Orchestra, Percussion and Piano, recorded at Carnegie Hall. This work wed his instinctual improvisational discipline on the piano to his formal compositional abilities in both vanguard classical music and jazz. That year, his European quartet also released the live Nude Ants -- recorded at the Village Vanguard -- and Sacred Hymns, a solo piano album of compositions by metaphysical philosopher/musician Georges Ivanovitch Gurdjieff.

In 1983, Jarrett began working in a trio with bassist Gary Peacock and drummer Jack DeJohnette. It was the beginning of an association that has lasted ever since. Their initial session produced three albums: Standards, Vol. 1 and Vol. 2, and Changes (the last a set of free improvisations). Throughout the decade they alternated between recording standards and freely improvised sets, among them 1986's Standards Live and 1989's Changeless.

Jarrett also cut two deeply personal albums in the '80s. In 1986, Spirits, a double album, featured him playing piano, flute, recorder, soprano saxophone, guitar, and percussion. Another double, Book of Ways from 1987, was completely performed on the clavichord.

In 1988, Jarrett began recording canonical classical music. His first release was Bach's Das Wohltemperierte Klavier Buch I, followed by his Goldberg Variations the following year. But he hadn't abandoned jazz. Jarrett closed the decade with records by his European quartet in Personal Mountains, and by his American trio with Changeless, in 1989.

While his first album of the '90s was the solo Paris Concert, the trio was also busy touring. They stopped briefly to record Bye Bye Blackbird in 1991 as a memorial to Miles Davis. That said, Jarrett spent most of the decade's first half recording classical music. These albums included collections of Handel and Bach sonatas -- both with Michala Petri playing recorder: his award-winning Shostakovich: 24 Preludes and Fugues Op. 87 in 1992, Bach's French Suites in 1993, and the composer's Bach: 3 Sonaten für Viola da Gamba und Cembalo with violist Kim Kashkashian in 1994. He also recorded W.A. Mozart Piano Concertos K. 467, 488, 595 Masonic Funeral Music K. 477 & Symphony in G Minor K. 550 with conductor Dennis Russell Davies and the Stuttgart Symphony, which remained unreleased until 2004.

At the Deer Head Inn with Peacock and DeJohnette also appeared in 1994. A six-CD box set entitled Keith Jarrett at the Blue Note: The Complete Recordings, was released in 1995, documenting a three-night stand by the trio in June of 1994.

While on tour with the trio in Europe during 1996, Jarrett became ill with what was diagnosed as chronic fatigue syndrome. He battled the disease -- caused by an infection from parasitic bacteria -- for three years. While he recovered, ECM issued the 1995 solo concert La Scala in 1997, as well the trio document Tokyo '96 in 1998. During his illness in 1997, Jarrett gathered his strength and recorded the intimate Melody at Night, With You, in his home studio. It is a solo piano offering of short, straightforward interpretations of standards, ballads, folk songs, and a lone original; it is the most intimate recording in his oeuvre, and unlike anything else in his catalog. The album was released in 1999, the year he had recovered enough to begin touring again with his trio. Jarrett's first release of the 21st century, in fact, was Whisper Not, a collection of standards recorded on that tour.

Over the next four years, the trio toured and recorded shows. ECM issued several albums from them, including standards recordings such as Up for It and The Out of Towners, as well as Inside Out and Always Let Me Go -- the latter two shows consist of freely improvised music. In 2007, My Foolish Heart: Live at Montreux appeared, commemorating the trio's 25th anniversary. The stellar solo piano effort The Carnegie Hall Concert, wherein the pianist created new rules for himself as a live improviser, also appeared that year. In 2008, The Cure was released. It was a prime live standards gig by the trio from 1990 that had been sitting in the vault.

In 2009, the Paris/London solo concerts appeared, followed in 2010 by a duet recording between the pianist and Haden entitled Jasmine. In 2011, the aforementioned Rio was released shortly after the concert took place -- an anomaly in Jarrett's career. In 2012, ECM once more dug into its vaults and released Sleeper: Tokyo, April 16th, 1979, a previously unissued date by Jarrett's European quartet. His trio recorded at the Luzern Concert Hall in July of 2009; the concert was released as Somewhere in May of 2013. In November, ECM released No End, an archival home studio recording from 1986, on which he played all instruments, including piano, electric guitars, bass, tablas, recorder, and drums; it was followed in December with the complete reissue Concerts: Bregenz München, a three-disc set comprising two solo piano concerts from 1981. In June of 2014, more standards from the 2007 duet sessions with Haden that yielded Jasmine were released as Last Dance. ~ Thom Jurek, Rovi
full bio

Selected Discography

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Track List: Changeless

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Track List: Vienna Concert

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Track List: Personal Mountains

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Track List: The Koln Concert

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Track List: The Survivors' Suite

Comments

THE MASQUERADE IS OVER what an apt tune !!!! The trio swings strong but Oh so elegant :) MR Jarrett emotes BIG TIME !!! I love it !!!! X
ROSE PETALS; solemn dirge, that has such a beautiful & spiritual tone !!!
Plus, the AVANT GARDE swing makes it easy to listen to !!! X
The quartet hits a high note on the track SO TENDER !!! All I can say is WOW & THANK YOU X
He played a remarkable version of Over the Rainbow.
These cats swing like a baptist church on Sunday morn :) SPIRITUAL & SOULFUL !!!!! X
CHANT OF THE SOIL is classic !!!!
Rocks the soul !!!!! Swings like they invented it :) X
snorkeling99
How about the incredibly gorgeous Koln Concert?
Time After Time is one of the great piano jazz tracks of all time. It stands the test of time. Each time I hear it I am blown away by his improvisatio n a l genius. Oh, the man swings hard.
Who's on the trap set in Five Brothers? Anybody know?
"PERSONAL MOUNTAINS" rocks !!!!!
Check out "Oasis" x
His music (especially with Jan Garbarek) is timeless !!!!! Thanks to my friend Steve of Ohio for introducing me to "MY SONG" x
Unbelievable talented musician wonderful to listen to
Lover. Man
by. Keith. Jarrett
on. Tribute.


Mr. Keith. Jarrett. You've. Changed
Smooth. Grove.
I am so glad to be born into the same time as this pianist - the joy of hearing his live solo concerts-pur e pleasure. Appreciate the many recordings as well, with the trio, with others, and of course, solo. He's an inspiration for my own playing, to keep following the spirit of a song.
I love this man! Makes me so happy hearing him sing along, just pure joy and awesomeness
I've followed his music for awhile...an amazing and consistent pianist.
I love his music in all forms !!!!!! Especially the quartet with Garbarek
One of the greatest musicians ...ever.
Never pass a great and a fine wonderful artist
A keyboard genius--pure & simple-& God Knows since my mid-teens(71 now) I've loved & collected great piano artists (among many great master-instr u m e n t a l i s t s ) on vynil! when feasible! After being transfixed by the justly-famed KOLN Concert albums I caught him live back in the 70s at Lincoln Center & what a trip! LOVE his more contemplativ e & totally seductive vibe on 'Jasmine' album too-great American Songbook .
This is just amazing work - I'd love to see this live!
I love the Jarrett & Garbarek bands !!!! Their music is a joy !!!!! X
If it would be a pianist God it would be him. Classical Jazz and everything in between he is a genius . When he sings is the sound of making love to the piano. and the movement too.
He even did Bach's Das Wohltemperie r t e Klavier after Shostakovich !
Simply IMMENSE, incredible healing power.I have also vocalised when playing. I have heard classical performers ,too vocalising. Its natural
Everyone please stop moaning about Mr Jarrett's vocalizing !!!!! That is his signature !!!! He becomes one with his music x
I need to hear 'Nude Ants' please !!!!! X
You guys do a tremendous job. Tasteful, knowledgeabl e , a cedit to Pandora. Bravo
Do not like his solo albums. Prefer the trio.
I am going to join your Upgrade the first of the month. Money is not good now. Its worth every cent! Good Job! Keep up the good work. I will buy that Keith Jarret's 'Radiance' as well. Please be patience.
1stchairflut e
tony6203, that is a great comparison!
Wow Sinatra would've loved that version of Guess I'll Hang My Tears etc
Jarretts solos are so lyrical - like a Paul Desmond on Piano....!!
johnafjr
johnboy23464

26 yrs ago a friend played a disc recording of Jarrett's Hymns, Spheres (solo jazz on pipe organ). I was & remain blown away. It took me 20 yrs to find the records (in Perth, Australia). One can easily learn to tune out the grunts & moans, but it ain't no big ting!
beapearson1
He is very enjoyable and relaxing, his singing and all. Oscar Peterson and Jerry Murphy, two other great jazz pianists and improvo men, also sing off tune as they play ingeniously. and spontaneousl y .
lisa.mangobl u e
eh, average
Please tell me Pandora why you have a picture of Gary Peacock and Peacock's bio under Keith Jarrett...??
Whenever I feel down and out, I listen to The Koln Concert. I've played that album I don't know how many times, but it never gets boring. Thank you Mr. Jarrett for creating a masterpiece.
i seriously dont get why people dont listen to jazz not smooth jazz though thats just a crossover to Rap but dont get me wrong i love kero one it just seems like people have no taste in music ever sense pop and Rap came ou Jazz FTW :)
Thank you Mr. Jarrett for making my day better - moved to goosebumps listening to Radiance, Pt. 15 (Live). Friggin' brilliant!
yes, very very frequently the bio is about a relatively unknown playing another instrument entirely...e v e n though the title line in the narrative is correct...th i s happens repeatedly in spite of numerous re-entries. THIS IS A IRRITATING BUG IN THE MIDDLE OF AS LOVELY COLLECTION AND SEARCH PLATFORM. fix it! Now Gary Peacock's life while Keith Jarrett is playing and peacock's life is under the label of Keith Jarrett (as an example)
jackcfeldman 1 9 4 8
This bio is for Gary Peacock and not Keith Jarrett. Goodness, this occurs frequently.
RIO is great....I continue listening to it everday...gr e a t musician
noach
Oh, and of course, Oscar Peterson.
noach
About his singing-alon g : in fact, it is a deliberate though spontaneous addition of natural tone colour, akin in some ways to doubling a melodic line on two (or more) instruments. I would miss it from his recordings if it weren't occasionally there, and more frequently felt hovering on the edge of almost-there . That is to say, it is part of his unique signature. The only parallel, equally intense, is to be found in Glenn Gould's recordings; it is hard to separate these two artists, for me.
His ability to improve & his playing is wonderful and fun...but I just can't stand his grunts, singing(?) off key, that you all seem to love. I have a love/hate thing with his trademark. I just wish there was an ability to mute his singing layer. ;P No, I'm not a troll, I still love ya but in a way that you tolerate an irritating relative, kind of way. ;)
The Selected Discography needs Jasmine
crazy that you would call his singing along distracting - its his trademark and totally cool - yes its more idiosyncrati c than george benson, but no less artistic
wayne.fuller
Definitely the heir apparent of the great Bill Evans, who inspired him.
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