Up next in the catalog: a lot of Keith Jarrett.
Life Between the Exit Signs – You know that thing where you are so dedicated to buying records and so competitive about getting the hippest, rarest thing before anyone else? Right, well that’s not really a thing anymore, probably. But around the year 2000, that was still a thing for people like me, and I regret buying this album for that reason. Greg Burk and I were in St. Louis, MO with the Either/Orchestra and we spotted this record at the same time. I wanted it for the great Charlie Haden, and Greg, well he’s an amazing pianist, so that’s that. I selfishly bought it and generally behaved like a toddler about the whole thing. But more importantly, it’s a great record. This is Jarrett’s debut as a leader and it is loaded up with greatness. The magic between Jarrett, Paul Motian and Haden is indescribable. Love this record. The writing is fascinating, with free music and lullabies and swinging awesomeness, and the playing is magical.
Facing You – When I was a kid, I used to listen to a few Keith records on these gigantic Infinity speakers that I had. Sounded great and they were a wonderful distraction from doing homework. Facing You offers the same stuff that I loved, although I don’t have those great speakers any longer. Note to self: build an audiophile listening room. Also, win the lottery. Anyway, I love Jarrett solo piano records like this one. A few extended pieces with a few shorter pieces. With Keith, there is so much to listen to that – for me – a whole side of the same theme, even when taken so brilliantly through Jarrett transformations, can wear me out. Super great record, especially for the Jarrett solo piano uninitiated.
The Mourning of a Star – I bought this because it has Charlie Haden on it and they play a Joni Mitchell song, “All I Want.” This record is the type of “free” that feels like waves of tonality held together by vague motives. It’s great. When they play “pop” music, it’s also fantastic. I love triads!
Solo Concerts – This three LP set contains improvisations from Bremen and Lausanne, 1973. He doesn’t quite live up to his goal of having this record as a comparison to the Well-Tempered Clavier, but it’s…interesting anyway. A very vamp-based set of solo piano improvisations, however no one can touch Jarrett’s management of inner-voice leading.
Fort Yaweh – Ok, this is not my favorite Jarrett record. It’s the great American quartet, but it’s just not that interesting…except for that little modulation strategy of Haden’s at the end of “De Drums.” That’s pretty cool. But the whole thing even ends really weirdly.
Luminessence – No Jarrett playing this, only writing for orchestra and Jan Garbarek. Scott Yanow uses the words “angst” and “dolorous” to describe this record. That’s about right.
Il Juicio – Like The Mourning of a Star, which is something of a companion piece, it’s one of the American Quartet records. Free-ish, and definitely in search of boundaries to break. Keith play some soprano on this, but the real sax star is Dewey Redman…who rocks. Charlie Haden remains the man. But there are two things I can do without: the tambourine and the steel drums free jam.
Treasure Island – A follow up to Fort Yaweh that I happen to like a bit more. Maybe it is just that being in the studio caused a little more thoughtfulness, or another year together brought the band together more, or…Sam Brown? I love that cat’s playing.
Mysteries – Richard S. Ginnell from Allmusic writes, “for completists only.” I don’t agree. There are earlier recordings by this group that I like much less. In this case, they really benefit – in my opinion – from having worked together for a few years. The whole group seems to be having a discussion via music on this record, instead of (like a few earlier ones) the sound of four or five people talking at the same time in the same room. And Charlie, who is just amazing, sounds great on this record.
Shades – Just great. Possibly my favorite of this group.
My Song – This was not the first of Jarrett’s European group that I heard. Actually, not even in the first 4-5, but man, it’s great. This is the only Jarrett album that a trumpet player has mentioned to me. I guess it’s so good, even people who don’t have a reason to check it out end up liking it.
Blessings – Loved this record from the start. My favorite by this band is Personal Mountains, although that album (like all the others!) features a mix that has Garbarek WAY too hot. This one is essential for anyone curious about Jarrett’s music.
Survivors Suite – One reason I love this record, which I think to be the best of the American Quartet records, is that it proves the Haden Axiom: where mere mortal bassists need all the notes they can get to sound ok, Charlie Haden only needs an ascending scale (of any type) played in half notes.
Eyes of the Heart – Another great one by the American Quartet. The first two records are relatively tame, but there are some moments!
Nude Ants – So, yeah, this is a great record, but for me this is Jarrett’s Tales of Topographic Oceans. It’s incredible if I’m up for the slow build, but beyond that, it’s…amazing, but still it’s just that, it takes forever to get to the point. And side 2 being a pedal point forever…it’s not my favorite. But it is amazing.