Discography

19861011 Keith Jarrett Trio

Keith Jarrett (p) Gary Peacock (b) Jack DeJohnette (dr)

October 11th 1986, Shimane Prefectural Assembly Hall, Shimane, Japan

19861013 Keith Jarrett Trio

Keith Jarrett (p) Gary Peacock (b) Jack DeJohnette (dr)

October 13th 1986, Festival Hall, Osaka, Japan

19861015 Keith Jarrett Trio

Keith Jarrett (p) Gary Peacock (b) Jack DeJohnette (dr)

October 15th 1986, Kosei Nenkin Hall, Tokyo, Ja-pan

19861016 Keith Jarrett Trio

Keith Jarrett (p) Gary Peacock (b) Jack DeJohnette (dr)

October 16th 1986, Kosei Nenkin Hall, Tokyo, Japan

19861018 Keith Jarrett Trio

Keith Jarrett (p) Gary Peacock (b) Jack DeJohnette (dr)

October 18th 1986, Tonami City Culture Hall, Tonami, Japan

19861020 Keith Jarrett Trio +++

Keith Jarrett (p) Gary Peacock (b) Jack DeJohnette (dr)

October 20th 1986, Sendai Jazz Festival, Den-ryoku Hall, Sendai, Japan

1 Stella by Starlight 11.11

2 Late Lament (Paul Desmond) 7.05

3 The Meaning Of The Blues (B. Troup – L. Worth) 7.51

4 You And The Night And The Music (Schwartz-Dietz) 9.29

5 I Remember Clifford(Golson) 6.17

1-5: [CD] Keith Jarrett Trio – Den-ryoko Hall, Sendai 1986

19861023 Keith Jarrett Trio

Keith Jarrett (p) Gary Peacock (b) Jack DeJohnette (dr)

October 23rd 1986, Phoenix Plaza, Fukui, Japan

19861026 Keith Jarrett Trio (BR) +++

Keith Jarrett (p) Gary Peacock (b) Jack DeJohnette (dr)

October 26th 1986, Hitomi Memorial Hall, Tokyo, Japan

1 You Don't Know What Love Is(DePaul – Raye)

2 With A Song In My Heart (Rodgers-Hart)

3 When You Wish Upon A Star (Harline –Washington)

4 All Of You (Porter) (Porter)

5 Blame It On My Youth (Levant – Heyman)

6 Love Letters (Heyman – Young)

7 Georgia On My Mind (Carmichael – Gorrell)

8 You And The Night And The Music (Schwartz-Dietz)

9 When I Fall In Love (E. Heyman-V. Young)

10 On Green Dolphin Street (B. Kaper – N. Washington)

11 Woody’n You (Dizzy Gillespie)

1-11: Keith Jarrett - Standards, II (VideoArts Music (J))

1. 
   Young And Foolish (Hague – Horwitt)(8:43)
   

1987

19870200 Keith Jarrett

Keith Jarrett (p)

February 1987, Cavelight Studio, NJ

Das Wohltemperierte Klavier – Buch I (J.S. Bach)

1-2 Praludium und Fuge C-dur, BWV 846 1.54/1.45

3-4 Praludium und Fuge c-moll, BWV 847 1.46/1.27

5-6 Praludium und Fuge Cis-dur, BWV 848 1.19/2.13

7-8 Praludium und Fuge cis-moll, BWV 849 2.10/4.01

9-10 Praludium und Fuge D-dur, BWV 850 1.14/1.37

11-12 Praludium und Fuge d-moll, BWV 851 1.48/1.55

13-14 Praludium und Fuge Es-dur, BWV 852 4.02/1.40

15-16 Praludium und Fuge es-moll/dis moll, BWV 853 3.31/4.48

17-18 Praludium und Fuge E-dur, BWV 854 1.20/1.09

19-20 Praludium und Fuge e-moll, BWV 855 1.48/0.58

21-22 Praludium und Fuge F-dur, BWV 856 0.58/1.25

23-24 Praludium und Fuge f-moll, BWV 857 2.08/3.30

25-26 Praludium und Fuge Fis-dur, BWV 858 1.25/1.39

27-28 Praludium und Fuge fis-moll, BWV 859 0.55/3.00

29-30 Praludium und Fuge G-dur, BWV 860 0.51/2.41

31-32 Praludium und Fuge g-moll, BWV 861 1.45/1.57

33-34 Praludium und Fuge As-dur, BWV 862 1.17/2.15

35-36 Praludium und Fuge gis-moll, BWV 863 1.14/2.24

37-38 Praludium und Fuge A-dur, BWV 864 1.11/1.54

39-40 Praludium und Fuge a-moll, BWV 865 1.07/4.23

41-42 Praludium und Fuge B-dur, BWV 866 1.19/1.23

43-44 Praludium und Fuge b-moll, BWV 867 2.45/3.34

45-46 Praludium und Fuge H-dur, BWV 868 0.57/1.55

47-48 Praludium und Fuge h-moll, BWV 869 5.22/5.43

1-48: Keith Jarrett - J.S. Bach: Das Wohltemperierte Klavier, Buch I (ECM (G) 1362/63)

19870327 Keith Jarrett Solo

Keith Jarrett (p)

March 27, 1987 Avery Fisher Hall, Lincoln Center, New York, NY, USA

-

http://www.nytimes.com/1987/03/30/arts/music-keith-jarrett.html

By STEPHEN HOLDEN

Published: March 30, 1987

NEAR the close of his solo piano concert at Avery Fisher Hall on Friday evening, Keith Jarrett somewhat patronizingly congratulated the audience for being attentive to music that was so ''difficult.'' Miles Davis, he explained, once contended that the reason he didn't play many ballads was that he loved to play ballads too much.

These remarks seemed to be Mr. Jarrett's apology for the dearth in his concert of the sort of late-Romantic chromaticism that has established him as the artistic heir of Bill Evans. Only in one brief encore did he let loose with the cascading piano runs springing from a post-Chopin harmonic palette that have made him so popular.

It has been some 15 years since Mr. Jarrett began performing solo improvisatory concerts, and in that time, his style has grown progressively more austere. Instead of long, winding improvisations that flit from style to style, Mr. Jarrett's inventions on Friday tended to be short, self-contained fragments in search of compositional form. The lush harmonic vocabulary of Gabriel Faure, while still a noticeable influence, is now surpassed by the drier style of Erik Satie.

19870405 Keith Jarrett Solo

Keith Jarrett (p)

April 5th 1987, Davies Symphony Hall, San Francisco, CA

Preston H.: “The concert was titled “Serious Drinking and Inner Vigilance: a Program of Solo Piano Improvisations for Hard Listening.” It was the first time I heard several short improvisations as opposed to two long, uninterrupted sets. The program includes a short essay by Jarrett, really a rambling monologue, but wonderful nonetheless.”

19870411 Keith Jarrett Solo

Keith Jarrett (p)

April 11th 1987, Suntory Hall, Tokyo, Japan

1 Opening (K. Jarrett) 12.51

2 Hymn (K. Jarrett) 4.55

3 Americana (K. Jarrett) 7.10

4 Entrance (K. Jarrett) 2.54

5 Parallels (K. Jarrett) 4.56

6 Fire Dance (K. Jarrett) 8.50

7 Ritual Prayer (K. Jarrett) 7.10

8 Recitative (K. Jarrett) 11.16

1-8: Keith Jarrett - Dark Intervals (ECM (G) 1379)

Review by Richard S. Ginell

This live solo piano concert at Tokyo's Suntory Hall is not a solo concert in the usual freewheeling Jarrett sense. Rather, it sounds like a formal recital of individual compositions, each followed by applause (unlike the improvised concerts where applause only comes at the end of a set). Keith is often in an introspective, even dark mood, with deep growling in the lower bass regions in the closing minutes of "Opening." Yet he can also be quietly affirmative and devotional, always the musician/virtuoso who doesn't flash his technique for its own sake. Of the eight tracks, only "Fire Dance" has some of the jazzy verve associated with the solo concerts. The Jarrett devotee will want this; others should use caution.