Keith Jarrett Solo (DI) (nrk video)
First set (corrections VA)
01 Title Unknown / Angles (Without Edges) 12:39 (few sec miss at beg on b "berlin" copy)
02 Yaqui indian folk song 04:44 (cuts off after couple sec of applause)
03 Introduction (Willis Conover) 1:26
04 Unknown Title (percussion intro) 5:57
05 (If The) Misfits (Wear It) (K. Jarrett) 16:28
06 Fort Yawuh (K. Jarrett) 15:44
07 Le Mistral (K. Jarrett) 12:35
08 Yaqui Indian Folk Song (K. Jarrett) 3:02
09 Closing announcements (Willis Conover, Keith Jarrett) 1:46
Note: The last speech is as follows: ”We’re really having a hard time here because of various tempos: one tempo is here before we get here,
and we bring one with us, and they don’t seem to match very well. For example, we gave you a chance to express yourself now...Ok, Good night!
Those of you who wanna save Berlin, please try”.
Then the presenter says: ”Das war eine Kostprobe mehr der Toleranz des Berliner Publikums und das war das KJ Quintett”
The first set has been discovered coming from Boston 19740918
19731104 American Quartet + 1 (fl+++)Keith Jarrett (p, ss) Dewey Redman (ts) Charlie Haden (b) Paul Motian (dr) Guilherme Franco (perc)
November 4th 1973, Aula de l’école de commerce, Geneva, Switzerland
March 21st 1975, Convocation Hall, Toronto, ON, Canada
Paul Motian (dr, perc) Guillerme Franco (perc)
March 25 26 27 28 29 30 1974, Village Vanguard, New York, NY
2-3 shows a night?
Given Auditorium, Waterville, Colby College, Maine
May 27th 1975, Kanko Kaikan Hall, Kanazawa, Japan
May 28th 1975, Kaikan Hall 1, Kyoto, Japan
May 29th 1975, Sankei Hall, Osaka, Japan
May 30th 1975, Auditorium, Matsuyama, Japan
May 31st 1975, Aichi Auditorium, Nagoya, Japan
June 2nd 1975, Denki Hall, Fukuoka, Japan
June 4th 1975, Prefectural Citizen’s Hall, Akita, Japan
June 5th 1975, Yubin-Chokin Hall, Tokyo, Japan
June 6th 1975, Kenritsu Ongakudo, Kanagawa, Japan
June 8th 1975, Civic Auditorium, Sendai, Japan
June 9th 1975, Prefectural Civic Center, Niigata, Japan
June 10th 1975, Yubin-Chokin Hall, Tokyo, Japan
Paul Motian (dr, perc)
June 26 -27-28-29-30, 1975 Amazing Grace, Evanston, IL, USA
Two shows a night?
June 1975, New York, NY
1 Heyoke (Kenny Wheeler) 21.49
2 Smatter (Kenny Wheeler) 5.58
3 Gnu Suite (Kenny Wheeler) 12.49
1-3: Kenny Wheeler - Gnu High (ECM (G) 1069)
From Louis Armstrong through Dizzy Gillespie and the hard bop master Woody Shaw, the trumpet has usually attracted extroverts and dazzlers. Kenny Wheeler, the enormously talented trumpeter and composer, began to change that in the 1970s—his playing emphasizes softer textures and less grandstanding approaches. On the astounding Gnu High, he plays the flügelhorn, a close relative of the trumpet that has a slightly more rounded tone, and favors scampering, musing phrases over reveille bursts that scream, "Look at me!" With this record and several that follow it, Wheeler suggests that brass can sing, and sing sweetly.
Dewey Redman (ts, musette, per) Keith Jarrett (p, fl, osi dr, perc) Charlie Haden (b) Paul Motian (dr, perc)
July 3rd 1975, Newport Jazz Festival, Avery Fisher Hall, New York, NY, USA
Keith Jarrett played after Oregon and before Thelonious Monk.
1 Shades of Jazz 9:23
2 Rose Petals (Keith Jarrett) 8:34
3 Southern Smiles 9:24In his fourth appearance at the Newport Jazz Festival (he had previously appeared in 1967 as a member of Charles Lloyd's quartet, performed solo in 1973 and appeared with his quintet in 1974), pianist-composer Keith Jarrett continued to ride a wave of popularity that would only increase dramatically with the release of The Koln Concert, one of the best-selling solo albums of all time, at the end of the year. With a potent quartet consisting of two former members of Ornette Coleman's group in tenor saxophonist Dewey Redman and bassist Charlie Haden, along former Bill Evans drummer Paul Motian, Jarrett and his crew performed material from 1975's Shades (which has since gone out of print and is only available now as Japanese import).
Jarrett's quartet opens this July 3rd performance with a ruminative solo piano improvisation that gradually develops into an energized workout on the keys before returning to the evocative theme. By the 5:24 mark, Jarrett segues abruptly to the fully developed solo piano piece "In Front" (from his 1971 ECM album, Facing You). Following a drum barrage from Motian, the band then jumps into "Shades of Jazz," one of Jarrett's most memorable and swinging compositions. Jarrett and Redman double on the head while Haden's insistent walking bass lines propel the tune behind Jarrett's swinging solo. Following a repeat of the head, Redman takes off on an exhilarating, bold-toned tenor solo with Haden's grooves still providing the rhythmic propulsion underneath Motian's incessantly swinging ride cymbal work.
Jarrett next settles into a soulful heartland melody on solo piano as the intro to the evocative "Rose Petals." Motian's free drumming on this rubato piece serves as a perfect rhythmic foil for Jarrett's and Redman's tightly crafted unisons and rhapsodic soloing here. Motian stretches out considerably on an unaccompanied drum solo that kicks off the Ornette Coleman-influenced number "Diatribes," which has Jarrett swinging fervently and soloing with remarkable virtuosity. Redman adds some heat of his own on this uptempo burner that straddles the inside-outside aesthetic with some passionate tenor blowing that tips over into the Albert Ayler zone. This intensely freewheeling piece concludes as it started, with a frantic fusillade on the kit by Motian. The quartet next tackles Jarrett's soulful, grooving, gospel flavored "Southern Smiles," an earthy number which seems more indebted to soul-jazz pioneer Les McCann than avant-garde pioneer Ornette Coleman. Redman's tenor solo here is suitably gritty and full of the funk factor. This Newport Jazz Festival concert closes on a poignant note with a delicate waltz-time number that opens with solo piano and builds to a moving crescendo as the band enters midway through.
September 27, 1975 Campus of Michigan St. University, East Lansing, MI,USA
September 30, 1975 Orpheum Theater, Madison (?), WI, USA
Autumn 1975, Villingen-Schwenningen, Germany
Iowa Memorial Union (sponsored by the University of Iowa)
them why they did it, was it a good solo or were they just acknowledging that they knew it was a solo?
Coughing came up too. Group cough, college students coughing just to see how mad he would get, after a long tirade
and a long silence (where he said he would continue when all the wise guys quit coughing).
Dewey Redman stepped up to the mic and coughed. I recall material from Treasure Island or Yahwuh, but not sure.
October 10th 1975, Symphony Hall, Springfield, MA, USA
Chuck H.: €My notes show that the Keith Jarrett Quartet (Jarrett, Redman, Haden, Motian) played nonstop for one
hour and twenty minutes, followed by one short encore. They didn’t begin until 10:50 at night, because they were preceeded by two other groups :Oregon (Towner, McCandless, Moore, and Wolcott) playing seven pieces
over a 45-minute period, then the Gary Burton Quintet (Burton, Swallow, Moses, Metheny, and Goodrick) playing five pieces over a 40-minute period €
October 15th 1975, McCarter Theater, Princeton, NJ
October 1975, Tonstudio Bauer, Ludwigsburg, Germany
1 Runes (Dedicated to the unknown) (Keith Jarrett) 15.19
2 Solara March (Dedicated to Pablo Casals
3 Mirrors (Dedicated to my teachers) (Keith Jarrett) 27.49
1-3: Keith Jarrett - Arbour Zena (ECM (G) 1070)
Review by Richard S. Ginell
With saxophonist Jan Garbarek and bassist Charlie Haden along for the ride, Keith Jarrett indulges in three slow, rambling, meditative, vaguely neo-classical concertos for piano and string orchestra. While a few of Jarrett's and Garbarek's passages here and there have a syncopated jazz feeling, this is mostly contemporary classical music, perhaps even somewhat ahead of its time (it might fit in with the neo-Romantic and minimalist camps today). However, although this music can be attractive in small doses, the lack of tempo or texture contrasts over long stretches of time -- particularly the nearly 28-minute "Mirrors" -- can be annoying if you're not in the right blissful mood. Mladen Gutesha and the Stuttgart Radio Symphony Orchestra perform the string parts with what can only be described as commendable patience.