Keith Jarrett & Charlie Haden - Jasmine (2010) (eac-log-covers)

Keith Jarrett & Charlie Haden - Jasmine (2010)

jazz | 1cd | eac-flac-cue-log-cover | 230MB

ECM

Allmusic:
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. The more immediate, present sound of the former piano makes for something less dynamic than his live performances. And here, with the sheer natural grace and unhurried elegance of Haden's earthy bass playing, that is a great thing. Jasmine is love songs; most are standards. Haden not only supports but solos a great deal. Picking out highlights on this eight-song, hour-long set is difficult because the dry warmth of these performances is multiplied by deeply intuitive listening and the near symbiotic, telepathic nature of the playing. The entire proceeding flows seamlessly. The depth of emotion in Peggy Lee's and Victor Young's "Where Can I Go Without You" opens the world of the bereft lover -- and Haden's solo seems to make her/him speak. Jarrett's intro to "I'm Gonna Laugh You Right Out of My Life," by Cy Coleman and Joseph McCarthy, reveals in its lyric just how woefully ironic this tune is. The loss and reverie steeped in false bravado are expressed in Jarrett's arpeggios and underscored by Haden's emphasis on single notes during the changes and a deep woody tone he gets in the combination of skeletal flourishes during Jarrett's solo. On the surface it might seem that the inclusion of Joe Sample's "One Day I'll Fly Away" is an odd inclusion; yet it acts on some level as the hinge piece for the set. Its simplicity and sparseness are offset by the profound lyricism Jarrett imbues it with. Haden asserts, quietly of course, that the complex emotions in the tune go beyond any language -- other than music's -- to express. After a devastatingly sad reading Gordon Jenkins' "Goodbye" with Jarrett at his most poignant and clean, a brief reading of Jerome Kern's and Oscar Hammerstein's "Don't Ever Leave Me" closes the set. The way it's played, this tune is not a plea, but a poetically uttered assertion between lovers. Jasmine is, ultimately, jazz distilled to its most essential; it not only expresses emotion and beauty, but discovers them in every moment of its performance.

Tracks
-1. For All We Know 9:49
-2. Where Can I Go Without You 9:24
-3. No Moon at All 4:41
-4. One Day I'll Fly Away 4:18
-5. Intro/I'm Gonna Laugh You Right Out of My Life 12:11
-6. Body and Soul 11:12
-7. Goodbye 8:03
-8. Don't Ever Leave Me 3:11

sample & buy: Jasmine

Keith Jarrett - Bye Bye Blackbird (1993) (eac-log-cover)

Keith Jarrett - Bye Bye Blackbird (1993)

jazz | 1cd | eac-flac-cue-log-cover | 350MB

ECM

 AMG:
This is the Keith Jarrett Trio's -- featuring bassist Gary Peacock and drummer Jack DeJohnette -- elegy for their former employer Miles Davis, recorded only 13 days after the maestro's death. The lonely figure in shadow with a horn on the cover contrasts with the joyous spirit of many of the tracks on this CD, yet there is still a ghostly presence to deal with -- and in keeping with Miles' credo, Jarrett's choice of notes is often more purposefully spare than usual. There is symmetry in the organization of the album, with "Bye Bye Blackbird" opening and the trio's equally jaunty "Blackbird, Bye Bye" closing the album, and the interior tracks immediately following the former and preceding the latter are "You Won't Forget Me" and "I Thought About You." The centerpiece of the CD is an 18-and-a-half-minute group improvisation, "For Miles," which after some DeJohnette tumbling around becomes a dirge sometimes reminiscent of Miles' own elegy for Duke Ellington, "He Loved Him Madly." As an immediate response to a traumatic event, Jarrett and his colleagues strike the right emotional balance to create one of their more meaningful albums.

Tracks:
-1. "Bye Bye Blackbird" (Ray Henderson) 11:13
-2. "You Won't Forget Me" (Kermit Goell/Fred Spielman)10:46
-3. "Butch and Butch" (Oliver Nelson) 6:37
-4. "Summer Night" (Al Dubin, Harry Warren) 6:42
-5. "For Miles" (Jarrett/Peacock/DeJohnette) 18:43
-6. "Straight No Chaser" (Thelonious Monk) 6:46
-7. "I Thought About You" (Jimmy Van Heusen/Johnny Mercer) 4:02
-8. "Blackbird, Bye Bye" (Jarrett/Peacock/DeJohnette) 3:02

Personnel:
* Keith Jarrett - piano
* Gary Peacock - double bass
* Jack DeJohnette - drums

sample & buy: Bye Bye Blackbird

Keith Jarrett - Handel_Suites for Keyboard (1995) (eac-flac-cover)

Keith Jarrett - Handel_Suites for Keyboard (1995)

classical | 1cd | eac-flac-cue-log-cover | 290MB

ECM  | rar +5% recovery

Amazon
Jarrett's recording of seven attractive Handel suites is, well, just delicious. His pianism, always at the service of the composer, is consistently lyrical, never rushed or hectic, with textures warm and rich. Each suite holds its own bounty, all of which Jarrett mines to the fullest. The pianist's jazz background complements the music, imbues it with a depth and humanity rarely found, especially in baroque keyboard. As well, it's more than apparent that Jarrett has made a conscious effort to get completely "inside" the composer, completely "inside" the music. He has succeeded incredibly well.
Sample, for instance, his swirling, beautifully wrought playing of the opening Prelude from Suite 1, No. 1 (HWV 426), the purity of the following Allemande, and the yearning wistfulness of the Courante. Or feel the breathtaking melancholy of the opening Adagio of Suite 1, No. 2 (HWV 427). And the particular beauty Jarrett imparts to the Prelude-Fuga of Suite 1, No. 8 (HWV 433) is absolutely not to be missed. This is playing of such tenderness and honesty that it silences criticism, pays homage to Handel and offers us the most unusual kind of musical blessing.

Tracks
Suite HWV 452 in G Minor
01. Allemande
02. Courante
03. Sarabande
04. Gigue
Suite HWV 447 in D Minor
05. Allemande
06. Courante
07. Sarabande
08. Gigue
Suites II / No.7 HWV 440 in B-flat Major
09. Allemande
10. Courante
11. Sarabande
12. Gigue
Suites I / No.8 HWV 433 in F Minor
13. Prelude - Fuga
14. Allemande
15. Courante
16. Gigue
Suites I / No.2 HWV 427 in F Major
17. Adagio
18. Allegro
19. Adagio
20. Allegro
Suites I / No.4 HWV 429 in E minor
21. Fuga
22. Allemande
23. Courante
24. Sarabande
25. Gigue
Suites I / No.1 HWV 426 in A Major
26. Prelude
27. Allemande
28. Courante
29. Gigue

sample & buy

r c

Keith Jarrett - Inside Out (2001) (eac-flac-cover)

Keith Jarrett - Inside Out (2001)
jazz | 1cd | eac-flac-cue-log-cover | 470MB

ECM  | rar +5% recovery

Amazon:
Now into its third decade as a unit, this stupendous trio featuring pianist Keith Jarrett, bassist Gary Peacock, and drummer Jack DeJohnette has evolved into one of the most enduring and rewarding trios in the history of jazz. This brilliantly recorded live date captures this towering triad at its telepathic best. The highly imaginative and spontaneous Jarrett delivers a complex and gospel-like figure, then Peacock's fluid bass lines comment on the pianist's statement, and DeJohnette's intricate propulsions conclude the phrase. Although Bill Evans and Paul Bley first glimpsed this kind of jazz improvisation, Jarrett and his partners have created a new language that speaks with its own voice.

Tracks
1 From the Body 23:13
2 Inside Out 21:13
3 Free Fade 18:50
4 Riot 7:23
5 When I Fall in Love 7:25

Personnel
Keith Jarrett: Piano
Jack DeJohnette: Drums
Gary Peacock: Double Bass

sample & buy

r c

Keith Jarrett - Mysteries, The Impulse Years (1975-76) (eac-flac-cover)

 

Keith Jarrett - Mysteries, The Impulse Years (1975-76)
jazz | 4cd | eac-flac-cue-log-cover | 1360MB
Impulse | released 1997 | rar +5% recovery

CD1-Shades
CD2-Mysteries
CD3-Byablue
CD4-Bop Be

Review by Scott Yanow (AMG)
At two marathon three-day recording sessions in December 1975 and October 1976, the finest group that pianist Keith Jarrett ever led (his quartet/quintet with tenor saxophonist Dewey Redman, bassist Charlie Haden, drummer Paul Motian and, on the first sessions, percussionist Guilherme Franco) recorded enough material for four memorable albums: Shades, Mysteries, Byablue and Bop-Be. This four-CD 1996 box set has the complete sessions, including 11 previously unreleased alternate takes. Jarrett's inside/outside music (his unisons with Redman had a unique sound) both held onto the tradition of chordal improvisation and were reminiscent of Ornette Coleman's earlier acoustic groups. There are a few brief exotic sound explorations, but most of the music (best shown on the opening "Shades of Jazz") extends the swinging tradition into complex areas that have yet to be fully explored by others. Continually fascinating music.

sample & buy

rc

Keith Jarrett - Tokyo Solo (2002) (music video)

Keith Jarrett - Tokyo Solo (2002)
DVD9 NTSC | DD5.1; DTS5.1 | 16:9 | 110 min | Covers | 8,1 GB
ECM | Genre: jazz | rel. 2006 | RAR +5% recovery

Amazon.com
It's no bulletin that improvisation is perhaps the central component of jazz, or that Keith Jarrett, a master jazz pianist, is also a gifted improviser. Yet what Jarrett plays in the course of Tokyo Solo, a 2002 performance that was his 150th concert in Japan, could hardly be called jazz, at least not according to most accepted criteria; the music heard here is, as Duke Ellington once said, "beyond category." What's more, "improvisation" seems inadequate for the process Jarrett has been perfecting since he began making solo recordings in the early 1970s. "Spontaneous composition" is more like it, for while most jazz players extemporize over a known melody or set of changes, Jarrett begins with a tabula rasa, creating music from nothing other than what's in his head and hands at a given moment. It's a fascinating process to witness, and if Tokyo Solo is not his finest work, it's nonetheless filled with extraordinary moments. It's easy to see why Jarrett, a notorious perfectionist, has performed so often in Japan: the venues are acoustically superb, the audiences are quiet and reverent, and the resulting recordings, including this one, feature impeccable aural and visual production values. Some of the material here appeared previously on the ECM CD Radiance (2005). In the course of two lengthy pieces ("Part 1" has three sections; "Part 2" has five), Jarrett's music is sometimes dissonant and challenging, filled with furious chording and dense clusters of sound ("Part 1(a)"), sometimes classical ("Part 1(b)" brings to mind a Beethoven sonata), sometimes gorgeous and almost impressionistic ("Part 2(a)" suggests a Ravel etude, while "Part 2(d)," perhaps the most sublime portion of the concert, leans a bit more toward Debussy). The setting (a darkened stage with nothing but the pianist and his Steinway) is simple, as is Kaname Kawachi's direction; there are plenty of close-ups of Jarrett's face, hands, and feet, as well as a few shots inside the piano, but nothing in the way of effects or trickery. Three more standard encores, including "Danny Boy" and "Old Man River," complete a concert sure to be treasured by Jarrett devotees.

  Tracks:

Part 1a; Part 1b; Part 1c; Part 2a; Part 2b; Part 2c; Part 2d; Part 2e; Danny Boy; Old Man River; Don't Worry 'Bout Me.

Approximate Running Time: 110 minutes.
Recorded October 30, 2002 at Metropolitan Festival Hall, Tokyo, Japan.

Keith Jarrett - Out-of-Towners (2001)

Keith Jarrett - Out-of-Towners (2001)
jazz | 1CD | EAC Rip | FLAC+CUE+LOG | cover | 375MB
EMI | RAR +5% recovery

AMG
Recorded in 2001 live at the State Opera House in Munich, Out of Towners features the Keith Jarrett/Gary Peacock/Jack DeJohnette trio in the kind of performance we've come to expect from them these last 21 years: Stellar. Being one of contemporary jazz's longest-running bands has its advantages; one of them is having nothing to prove. First and foremost, this band plays standards like no one else. Given their individual careers, the members playing in a trio that performs classics carries a kind of freedom, as well as weight. This material is treated not as museum-piece jazz, but as the essence of song. Check the whispered elegance of "I Can't Believe You're in Love With Me." This Jimmy McHugh-Clarence Gaskill number has plenty of history being recorded definitively by singers, chronologically by Billie Holiday and Frank Sinatra. The trio lean into the lyric phrasing in the body of the tune and turn it gently inside out without ever losing its melodic essence.
They follow it with "You've Changed," a fine exercise in rhythmic invention with a popping, sure-footed swing throughout. The complete re-vamp of Cole Porter's "I Love You" that unfolds over ten minutes digs into the lyric underbelly of the song and brings out so many subtle and shaded nuances it's like hearing the composition for the first time. The lone original on the set is the title track, written by Jarrett. A sprightly swing is stretched and molded over nearly 20 minutes, and one can hear everyone from Horace Silver to Thelonious Monk to Hampton Hawes in Jarrett's approach, underscored by Peacock's strident basslines that walk the edge of DeJohnette's cymbal-caressed beat. The big surprise is the elegant, finger-popping read of Gerry Mulligan's "Five Brothers." Its skipping melody is folded inside waves of harmonic interweaving by Jarrett through the body taken in a knotty swing that is given wings by the rhythm section. Besides the wondrous performance, the sound of this recording should be noted. Its warmth is immediate, its very close and intimate sound makes the listener feel as if she were in the middle of the stage taking this all in, not in the audience. This is an accomplishment on all fronts.

Tracks:

01 - Intro-I Can't Believe That You're In Love With Me

02 - You've Changed

03 - I Love You

04 - The Out-of-Towners

05 - Five Brothers

06 - It's All In The Game

Personnel:

Keith Jarrett, piano

Gary Peacock, double-bass

Jack DeJohnette, drums

Links:

download (Hotfile & Filefactory)

pass: zazzzazz

Keith Jarrett - The Impulse Years 5cd (1973-74) (20b SBM) (eac-flac-cover)

Keith Jarrett - The Impulse Years (1973-74) (20b SBM)
jazz | 5CD | EAC Rip | APE+CUE+LOG | cover | 1700MB
Impulse | 20b SBM | released 1997 | RAR +5% recovery

Disc 1-2 - Fort Yawuh
Disc 3 - Treasure Island
Disc 4 - Death and the Flower
Disc 5 - Backhand

Review by Scott Yanow (AMG)
The Keith Jarrett American quartet/quintet of the 1970s was arguably his finest group, a post-bop unit featuring the pianist/leader, tenor saxophonist Dewey Redman, bassist Charlie Haden, drummer Paul Motian, and sometimes Guilherme Franco and/or Danny Johnson on percussion. A highly recommended four-CD set traced the group's final Impulse! recordings of 1975-1976. This five-CD box from 1997 reissues all of the music from the sessions that resulted in Fort Yawuh (which is expanded to two CDs), Treasure Island, Death and the Flower, and Backhand. The 29 selections (some of which also include guitarist Sam Brown) include nine previously unreleased performances and three songs that are heard for the first time in expanded unedited versions. Although not reaching as many heights as the later Impulse! box, there are many strong moments. The music performed by this underrated group (which is heard at its best on the 22-and-a-half-minute "Death and the Flower" and "Inflight") is inside/outside, hinting at the avant-garde while not shy about using melodies and rhythms. Redman in particular was heard at his best with Jarrett's classic unit.

Links:
Hotfile

pass: kipp-kopp

Keith Jarrett - Mozart Piano Concertos I-II (1996 & 99)

Keith Jarrett - Mozart Piano Concertos I-II (1996 & 99)
classical | 2x2CD | EAC Rip | flac+CUE+LOG | cover | 1110MB
ECM | RAR +5% recovery

Review cd 3-4 (AMG)

Keith Jarrett evidently has carte blanche to do anything he wants at Manfred Eicher's ECM label -- and thus encouraged, he takes ample risks in a field that is swamped with able and formidable competitors. Mozart's piano concertos may be relatively easy to play but they are notoriously hard to interpret -- that's where the true music-making comes in -- and brave intentions aside, Jarrett cannot do very much with this music beyond playing the notes accurately and cleanly. [cut]He brings nearly nothing of his own to the "Concerto No. 23"; much of it is precious and monochromatic, though he finally does generate some animation in the "Finale." Jarrett's tempo for the opening movement of the "Concerto No. 27" isn't out of line, it just seems much slower than it actually is due to his stolid, doggedly literal playing; the larghetto is actually a bit fast, and the rondo lacks point and wit. The adagio movement of the "Concerto No. 21" has the tune that became famous after being used in the film Elvira Madigan yet Jarrett resists poetry of any kind, pounding out the chords in the left hand stiffly. Next to Artur Schnabel's old yet still-treasurable recordings of pointed, imaginative eloquence -- or Daniel Barenboim's renderings of expression and depth -- Jarrett is simply a non-starter in numbers 21 and 27. Another problem is the way Jarrett's piano is miked; it sounds distant, with little in the way of dynamic contrast, surrounded with a slight halo of reverb. One wonders if the engineering is actually fighting Jarrett's sporadic attempts to characterize the music. Dennis Russell Davies and the Stuttgart Chamber Orchestra come off somewhat better in the deal, with streamlined, flowing, somewhat soft-focused introductions influenced ever so slightly by period-instrument bowing practices that became prevalent in the late 20th century. But at least they use modern instruments, for which many now turned off by grating period-instrument recordings should be thankful. The two-CD set is filled out by Davies leading sturdy, moderately paced, very well-played performances of Mozart's magnificent "Symphony No. 40" and the dolorous "Masonic Funeral Music."

Composer:   Wolfgang Amadeus Mozart

Performer:  Keith Jarrett

Conductor:  Dennis Russell Davies

Orchestra/Ensemble:  Stuttgart Chamber Orchestra

cd1

01 - [K. 488] - I. Allegro

02 - [K. 488] - II. Adagio

03 - [K. 488] - III. Allegro assai

04 - [K. 595] - I. Allegro

05 - [K. 595] - II. Larghetto

06 - [K. 595] - III. Allegro

cd2

01 - [K. 477] - Masonic Funeral Music

02 - [K. 467] - I. Allegro maestoso

03 - [K. 467] - II. Andante

04 - [K. 467] - III. Allegro vivace assai

05 - [K. 550] - I. Molto allegro

06 - [K. 550] - II. Andante

07 - [K. 550] - III. Menuetto (Allegretto) - Trio

08 - [K. 550] - IV. Allegro Assai

cd3

01 - [K. 466] - I. Allegro

02 - [K. 466] - II. Romance

03 - [K. 466] - III Allegro assai

04 - [K. 453] - I. Allegro

05 - [K. 453] - II. Andante

06 - [K. 453] - III. Allegretto - Finale. Presto

cd4

01 - [K. 271] - I. Allegro

02 - [K. 271] - II. Andantino

03 - [K. 271] - III. Rondeau. Presto

04 - [K. 546] - Adagio and Fugue for String Orchestra

Links:

download

pass: zazzzazz

Keith Jarrett - Life Between The Exit Signs (1967)

Keith Jarrett - Life Between The Exit Signs (1967)

jazz | 1CD | EAC Rip | APE+CUE+LOG | cover | 265MB

Vortex/Atlantic | rec. 1967 | RAR +5% recovery

Wikipedia:
Life Between the Exit Signs was recorded on May 4, 1967 at Atlantic Recording studios, New York City. It was released April 1, 1968, under the record label Vortex, a subsidiary label of Atlantic Records. It is a collaboration of esteemed pianist Keith Jarrett, bassist Charlie Haden and established drummer Paul Motian.

Although this was his debut leading album, Keith Jarrett's playing had a profound effect upon the world of jazz. His unique playing style, first truly exhibited here, was to make him one of the most famous jazz pianists of all time, influencing much of the experimental jazz of the 80s and 90s. It was also the beginning of a long lasting relationship with Paul Motian.
The tracks on the album are heavily inluenced by Ornette Coleman and Bill Evans, Jarrett having long been an admirer of both; and Haden having played with Coleman and Motian having played with Evans.

1. "Lisbon Stomp" - 6:06
2. "Love No. 1" - 6:17
3. "Love No. 2" - 4:32
4. "Everything I Love" - 4:33
5. "Margot" - 3:45
6. "Long Time Gone (But Not Withdrawn)" - 4:55
7. "Life between the Exit Signs" - 6:53
8. "Church Dreams" - 6:17

Personnel
* Keith Jarrett - piano
* Charlie Haden - double-bass
* Paul Motian - drums

Links:
Hotfile
pass: kipp-kopp