Discography
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- 19720427 Keith Jarrett American Quartet + 2
19720427 Keith Jarrett QuintetKeith Jarrett (p, ss) Sam Brown (g) Charlie Haden (b) Paul Motian (dr) Airto Moreira (perc) April 27th 1972, Columbia Studio E, New York, NY 1 The Circular Letter (For J.K) (Keith Jarrett) 5.04 Keith Jarrett - Expectations (Columbia C2K 65900) 19720427 Keith Jarrett American Quartet + 2Keith Jarrett (p, ss) Dewey Redman (ts) Sam Brown (g) Charlie Haden (b) Paul Motian (dr) Airto Moreira (perc) April 27th 1972, Columbia Studio E, New York, NY 1 Sundance (Keith Jarrett) 4.27 Keith Jarrett - Expectations (C2K 65900) 19720529 Keith Jarrett American trio (SP) Milano
Media: CD-R Duration: Sound quality: A Source: audience Note : The different songs are not divided in different tracks.
1. Unknown / Bring Back The Time When (If) (21:59) [end Missing] 2. Standing Outside (Keith Jarrett) / Everything That Lives Lament / Lisbon Stomp (Jarrett)/ Unknown (25:10) ) [Cut at 24:59 - end Missing]
Keith Jarrett (p, ss, fl) Charlie Haden (b) Paul Motian (dr) Székesfehérvár, Hungary (Alba Regia Jazz Festival)
01b (7:00 -->) Lisbon Stomp (Jarrett)['official version' on Life Between The Exit Signs] 01c (16:00 –>) Moonchild (Keith Jarrett) 01d (22:30 –>)-02 Song For Che 03 The Magician In You (Keith Jarrett)['official version' on Expectations] 04 Piece For Ornette ['official version' on El Juicio] 05 Expectations (Keith Jarrett) 06 UT (also in 1969 Cameleon Pt.1)
Sunday, June 4, 1972 Stadthalle, Heidelberg, Germany Heidelberger Jazztage 19720609 Keith Jarrett Trio (BR) +++ (DI) Keith Jarrett (p, ss, fl) Charlie Haden (b) Paul Motian (dr) June 9th 1972, France Studio 104, Maison de la Radio, Paris, France [Suite 1] 01 - Coral (7:51) 02 - Forget Your Memories (and they’ll remember you) (18:23) 03 - Take me back (Keith jarrett) (9:33) 04 - Standing Outside (Keith Jarrett) (6:04) 05 - Track V (4:55) 06 - Piece for Ornette (Jarrett) (6:02) [Suite 2] 07 - Common Mama (Jarrett) (13:07) 08 – Moonchild (Jarrett) (7:33) 09 - The Magician In You (Keith Jarrett)(9:12) 10 - Follow The Crooked Path (12:36) 11 - Expectations (Keith Jarrett) (10:02) Encore 12 - Applause (1:49) 13 - The Circular Letter (for JK) (Jarrett) (6:56) Time = 114:02 19720612 Keith Jarrett Trio (PA) (FL+++) Keith Jarrett (p) Charlie Haden (b) Paul Motian (dr) June 12th 1972, Arri Kino, Munich, Germany 1 Church Dreams (Keith Jarrett) 6.30 2 The Mourning Of A Star (Keith Jarrett)/ Follow The
3 Coral 7.25 4 Piece For Ornette / Remorse / Rainbow (Margot Jarrett) 16.57 1-4: [CD] Keith Jarrett Trio Live Munich 1972 Set 1 0 DJ intro (00:47) 1 Church Dreams (Keith Jarrett) (7:01) 2 The Mourning Of A Star (Keith Jarrett) (14:12) 3 Follow The Crooked Path (Piano solo) (3:21) 4 Coral (Keith Jarrett) (7:37) 5 Piece For Ornette (Keith Jarrett) (5:01) 6 Remorse (Keith Jarrett) (7:45) 7 Rainbow (Margot Jarrett) (4:46) 50:34 set 2 8 Flute tune & bass flageoletts - no title (1:56) 9 The Magician in You (Jarrett) (8:56) 10 Everything that Lives Laments (Keith Jarrett) (5:58) 11 Starbright (Keith jarrett) (4:54) 12 Take me back (Keith jarrett) (5:52) 13 Unidentified soprano piece (5:14) 14 El Juicio (Keith jarrett) (10:51) 15 Expectations (Keith jarrett) (end is missing) (6:07) 49:53 100:25
19720614 Keith Jarrett Trio (BR) (mu) +++ Keith Jarrett (p, fl) Charlie Haden (b) Paul Motian (dr) June 14th 1972, NDR Studio 10, Hamburg, Germany, NDR broadcast 1 Rainbow (Margot Jarrett) 2 Piece For Ornette (Jarrett) 3 Take me back (Keith jarrett) 4 Life Dance(Jarrett) 1-4: Various Artists - NDR Jazz Workshop '72 (Norddeutscher Rundfunk)
1. El Juicio (Keith jarrett) / Moonchild (Keith Jarrett) (23:29) 2. Follow The Crooked Path / Standing Outside (Keith Jarrett) / Bring Back The Time When (If) (20:50)) 3. Rainbow (Margot Jarrett) / Everything That Lives Lament (19:22) 4. Piece For Ornette / Take me back (Keith jarrett) (17:36) 5. Life, Darn / Song For Che (17:03)
Jarrett/Haden/Motian: Hamburg ’72 review – a trio at their most uninhibited John Fordham 
Free and easy … Keith Jarrett, Charlie Haden and Paul Motian in Hamburg in 1972 This album captures Keith Jarrett on German radio in 1972, shortly before his landmark solo gig in Cologne. It’s an unbridled excursion for the mindblowingly intuitive trio of Jarrett, bassist Charlie Haden and drummer Paul Motian. Jarrett plays flute and wild soprano saxophone at times, and there’s plenty of piano virtuosity, full of typically slashing long lines and methodical buildups, some gospel-like Jarrett funk (Take Me Back), and slowly massaged ballads. Haden and Motian constantly anticipate him. The tonal freedom and uninhibitedness give this set a different kind of power – audible in Jarrett’s Coleman-phrased soprano-sax solo over Haden’s hurtling bass-walk on Piece for Ornette, and the long multiphonic howls against dissonant bowed-bass chords and Motian’s slams and rattles on the intense Song for Che. It’s the remarkable work of a trio in tune with each other – and with the spirit of their time. Hamburg ’72 (ECM Records) Keith Jarrett/Charlie Haden/Paul Motian Let the debates begin. Which is a better disc featuring Keith Jarrett and Charlie Haden — the sublime, lovely, ballad-heavy Last Dance, released in June 2014, or Hamburg ’72, the raw and raucous blast from the past that was released Monday and which features Jarrett and Haden with drummer Paul Motian? They are both marvellous records. Obviously, they complement each other in documenting and contrasting where Jarrett and Haden, two musical giants, were at these two poles of their collaborations.
And it goes without saying that if you only know Jarrett as a superlative interpreter of standards with bassist Gary Peacock and drummer Jack DeJohnette, this album of original compositions and outward-bound playing will be revelatory. This new album consists of six pieces played at a ECM-organized radio concert staged a few months after Jarrett’s debut on the label with his paradigm-shifting solo album Facing You. However, the tracks cast forward to the enthralling music that Jarrett would record on Impulse! with Haden, Motian and reedman Dewey Redman.
Next comes the more sombre Everything That Lives Laments Haden is in top form, playing as his life depends on it, accompanied by Motian’s jangling bells, before Jarrett, tapping into a primal muse, joins in on wood flute. The trio expands heroically on the brief version of this piece that it recorded on The Mourning of a Star, and there’s even a smatter of applause from the Hamburg audience as the trio brings in the sorrowful tune. Still, while the Hamburg version has its own rugged charm, it lacks the lilting release of the grooving piano solo — and that’s not to mention Redman’s coursing turn — heard when the American Quartet epically recorded Everything That Lives Laments on the 1976 album Mysteries. Jarrett switches to soprano saxophone for Piece for Ornette, which also appears on the American Quartet album El Juicio. Brash, exultant free-bopping ensues. Haden propels in his singular way, Motian’s clatter is divine, and Jarrett’s horn progresses from swirling to deeply gruff and guttural, as much concerned with sound as notes. Take Me Back, which is also on the 1972 Jarrett album Expectations, is a groovy, vampy and gospel-saturated romp. The trio finds another way to be earthy, switching from raw swinging to bluesy testifying. The disc’s final two tracks practically belong to Haden, not that was coasting until then. Life, Dance’s short, uplifting theme gives way to gutsy bass heroics. But that’s simply a prelude for Haden at his finest, as the trio segues into a grand, 15-minute foray through Haden’s own Song For Che, coloured by much percussion and the return of Jarrett’s raspy and even shrieking soprano saxophone. For an recording that sat in the vaults for more than four decades, the album sounds lucid and highly charged, following the remix in July by ECM producer Manfred Eicher and Jan Erik Kongshaug. Only on the opening track, Rainbow, is Haden’s sound a little muffled and vague in the ensemble. On one hand, Hamburg ’72 is like a long-missing piece of a larger ravishing puzzle, connected to recognized masterpieces, both contemporaneous and subsequent, from Jarrett, Haden and Motian. But of course, it also stands up entirety in its own right, visceral, brilliant, unfettered and joyous, even if you don’t know its place in jazz history.
Published: November 26, 2014 | 809 views View related photos With Sleeper: Tokyo, April 16, 1979 (2012) and Magico: Carta de Amor (2012), ECM Records began digging into its archives, unearthing two live recordings that revealed even more about a collection of artists whose reputations were already plenty secure as some of the label's most important from its early years—in the first case, pianist Keith Jarrett's Scandinavian-centric "Belonging Quartet," with saxophonist Jan Garbarek 
Jan Garbarek b.1947 sax, tenor , bassist Palle Danielsson 
Palle Danielsson b.1946 bass, acoustic and drummer Jon Christensen 
Jon Christensen b.1943 drums ; in the second, the Transatlantic trio of Norway's Garbarek, Brazilian pianist/guitarist Egberto Gismonti 
Egberto Gismonti b.1947 guitar, acoustic and American bassist Charlie Haden 
Charlie Haden 1937 - 2014 bass, acoustic . Hamburg '72 is another significant find: a live recording that, unlike Sleeper and Carta de Amor, comes from a group that until now has never been documented on ECM but, like those 2012 sets, is another major winner that adds substantially to both the label's discography and the history of its participants. Keith Jarrett's group with Charlie Haden and drummer Paul Motian
—musicians who, with Ornette Coleman 
Ornette Coleman b.1930 sax, alto and Bill Evans 
Bill Evans 1929 - 1980 piano in their respective pedigrees, provided the pianist with as much freedom to explore as he could handle—had already begun its move from the trio first heard on Life Between the Exit Signs (Vortex, 1968) into the quartet with saxophonist Dewey Redman 
Dewey Redman b.1931 sax, tenor that, ultimately known as his "American Quartet," debuted on two Atlantic albums released the previous year: El Juicio (The Judgement) and Birth. But when Manfred Eicher 
Manfred Eicher organized a 1972 European tour for Jarrett—who had already begun what would ultimately become an exclusive tenure on the producer's relatively nascent ECM Records label the year prior, with an instant classic, Facing You, along with a more curious duo date with drummer Jack DeJohnette 
Jack DeJohnette b.1942 drums , Ruta and Daitya—it was a trio tour that may well have been its last in that format, as Jarrett had already begun touring the US with Redman in tow. Culled from an NDR Jazz Workshop radio recording from June 14, 1972, Hamburg '72 is as important for Eicher and Norwegian engineer Jan Erik Kongshaug's superb remix from the original multitracks as it is for the exceptional music itself. Motian's dark ride cymbal positively sizzles on the opening "Rainbow"—appearing here a full four years before showing up on the quartet's Byablue (Impulse!, 1976)—which gradually evolves from Jarrett's spare and lyrical a cappella introduction into a more powerful improvisational vehicle for the entire trio, demonstrating both a chemistry built over the course of five years as well as the unassailable magic of this particular evening. "Everything That Lives Laments"—first heard on the trio's The Mourning of a Star (Atlantic) the previous year and later revisited on the quartet's Mysteries (Impulse!, 1975)—also shape-shifts, but this time from a brief balladic opening into a bass solo that, supported by Motian's chimes and bells, ultimately explores more folkloric territory when Jarrett rejoins, this time on wooden flute. The clarity and transparency of every instrument—including Jarrett's voice when he briefly sings along with his flute—is made all the more vivid by the trio's unfettered approach to taking what was originally a two-minute piece and turning it into a ten- minute epic journey that, when Jarrett returns to his piano and Motian his drums, traverses a broad dynamic expanse, with the pianist's firm touch something that is felt as much as it is heard. While he's rarely given much credit for it, the nine-minute "Piece for Ornette"—this time featuring Jarrett alone, as opposed to the version on El Juicio that also includes Redman on tenor—suggests that Jarrett's relatively infrequent soprano saxophone work ought to be revisited. Here, bolstered by a "time, no changes" rhythm section where Haden anchors with near-running bass lines and Motian swings with a fire and intensity rarely heard, Jarrett is positively incendiary, sustaining lengthy rapid-fire lines, piercing multiphonics and searing screams. "Take Me Back"—released the same year on his sole Columbia Records outing Expectations (1972) but, with guitarist Samuel T Brown Samuel T Brown b.1939 and percussionist Airto Moreira 
Airto Moreira b.1941 percussion in the mix, in a more clattering version— explores Jarrett's gospel predilections but, with Motian's exuberant punctuations piercing through Haden's simple but perfect support, is considerably more raucous and, consequently, joyous than his current Standards Trio. That's not a criticism of the pianist's longstanding group with bassist Gary Peacock 
Gary Peacock b.1935 bass and drummer Jack DeJohnette
Jack DeJohnette b.1942 drums ; only that Hamburg '72's trio at times sacrifices finesse for a more raw, unfettered and ultimately infectious energy that builds to a climax and then stops suddenly, leaving Jarrett alone to perform a segue that leads into the captivating "Life, Dance"—at just three minutes a brief miniature compared to the rest of the album's eight minute-plus tracks—that is the record's only previously unheard Jarrett composition, its sketch-like form creating the context for an in tandem bass and drums solo where Haden's robust, woody tone and resolute approach to simplicity and ultimate perfection in his every choice becomes one of the album's many highlights. In fact, Hamburg '72 is a true milestone from the first of its 56 minutes to the last—a classic once lost, but now found again and sounding better than ever. A lengthy version of Haden's "Song for Che"—first heard on the bassist's classic Liberation Music Orchestra (Impulse!, 1969) and the only non-Jarrett original of the the set—closes Hamburg '72 on a particularly open-ended note, with Haden moving from visceral pizzicato to drone-based arco and Jarrett from piercing saxophone to more dramatically building piano, before Haden once again dominates and the 15-minute epic ends with a slow fade of Motian and Jarrett's percussion. That Jarrett no longer engages in formal composition has been a subject for much discussion and debate in recent years. While his "from the ether" solo concerts and standards-based trio performances can rightly be considered spontaneous composition of the highest order, archival finds like Sleeper and Hamburg '72 do make the case for a certain loss when the pianist decided to put his writing pen down. While it seems unlikely that Jarrett will change his current stance, if ECM can continue to unearth recordings like the stellar Hamburg '72, there's hope that fans of Jarrett the composer—and Jarrett, the more freewheeling, reckless performer—will remain more than satisfied. Yüklə 2,41 Mb. Dostları ilə paylaş:
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