My Foolish Heart - Live at Montreux - CD2 - Keith Jarrett

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1. Honeysuckle Rose
2. You Took Advantage Of Me
3. Straight, No Chaser
4. Five Brothers
5. Guess I'll Hang My Tears Out To Dry
6. On Green Dolphin Street
7. Only the Lonely

Jazz's greatest piano trio. This is the best way to describe the 25-year partnership between Keith Jarrett, Gary Peacock and Jack DeJohnette. They are an institution of jazz and My Foolish Heart is their 18th recording, all on ECM. The double album was recorded live at the Montreux Jazz Festival in 2001 and is an exhilarating and playful performance which romps through the history of jazz as the trio plays pieces by Fats Waller, Thelonious Monk, Miles Davis, Sonny Rollins, Gerry Mulligan and more, as well as a scattering of show tunes and standards from the Great American Songbook. This album is - in terms of the musical range addressed - one of the most comprehensive in the discography of Jarrett, Peacock and DeJohnette. This fall, ECM is also releasing a speciallypriced 3-CD box set of the first recording session that the Keith Jarrett, Gary Peacock and Jack DeJohnette ever made together. Setting Standards is a combined reissue of Standards Vol. I, Standards Vol. II and Changes, the three albums recorded in one session at New York's Power Station in 1983. The albums have been remastered in 24bit/192kHz and the box set will include new liner notes and archival photos.

My Foolish Heart - Live at Montreux - CD1 - Keith Jarrett

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http://rapidshare.com/files/87967492/My_Foolish_Heart_-_Live_at_Montreux__Disc_1_.part2.rar

1. Four
2. My Foolish Heart
3. Oleo
4. What's New
5. The Song Is You
6. Ain't Misbehavin'

Jazz's greatest piano trio. This is the best way to describe the 25-year partnership between Keith Jarrett, Gary Peacock and Jack DeJohnette. They are an institution of jazz and My Foolish Heart is their 18th recording, all on ECM. The double album was recorded live at the Montreux Jazz Festival in 2001 and is an exhilarating and playful performance which romps through the history of jazz as the trio plays pieces by Fats Waller, Thelonious Monk, Miles Davis, Sonny Rollins, Gerry Mulligan and more, as well as a scattering of show tunes and standards from the Great American Songbook. This album is - in terms of the musical range addressed - one of the most comprehensive in the discography of Jarrett, Peacock and DeJohnette. This fall, ECM is also releasing a speciallypriced 3-CD box set of the first recording session that the Keith Jarrett, Gary Peacock and Jack DeJohnette ever made together. Setting Standards is a combined reissue of Standards Vol. I, Standards Vol. II and Changes, the three albums recorded in one session at New York's Power Station in 1983. The albums have been remastered in 24bit/192kHz and the box set will include new liner notes and archival photos.

Somewhere Before - Keith Jarrett Trio

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1. My Back Pages

2. Pretty Ballad

3. Moving Soon

4. Somewhere Before

5. New Rag

6. Moment for Tears

7. Pout's Over (And the Day's Not Through)

8. Dedicated to You

9. Old Rag A monumentally talented maverick of immense productivity, Keith Jarrett has become a kind of jazz tradition all of his own over the past four decades. On his 2006 Carnegie Hall solo album, Jarrett crammed his past and his present into a tour de force that ran from ragtime to free-jazz. Here's where much of that began, on the assortment of trio recordings (with the bassist Charlie Haden and the drummer Paul Motian), jazz-funk forays (with the vibraphonist Gary Burton and others) and Ornette Coleman-influenced music Jarrett was playing between 1968 and 1975 - either side of his short electric-Miles career, and just before the legendary Köln Concert. Jarrett is not so rhythmically free, but otherwise some might regard it as the most joyous and varied jazz playing of his career.

Fort Yawuh - Keith Jarrett

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Fort Yawuh is one of the group's best efforts, a series of live performances that demonstrate the many different aspects of the group. "(If the)Misfits(Wear It)," the album opener, is boppish and recalls Ornette Coleman, though you can hear traces of the gospel influence that Jarrett brought to bear on the European quartet recordings. Redman offers a lexicon of avant-garde tenor sounds, his cries and shrieks sounding less noisy and more evocative of the human voice today than they may have come across at the time. "Fort Yawuh" is a lyrical piece on which Redman plays with incredible beauty. Certainly he should be recognized as one of the best post-Coltrane tenor players to come along.

"De Drums" works up a nice groove and allows for the aforementioned gospel and even some blues influence to come to the fore, while "Still Life, Still Life" demonstrates a Bill Evans influence as well as much of the classical influence of Jarrett's solo piano work. The album closer, "Roads Travelled, Roads Veiled" is a free jazz exploration built on Motian's African-inspired drumming and some of Haden's steady, melodic bass work.

Treasure Island - Keith Jarrett

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Originally an Impulse LP that surfaced on MCA as a straight reissue on CD, this fine recording features pianist Keith Jarrett's best regular group. Dewey Redman is heard from on tenor, bassist Charlie Haden , drummer Paul Motian and percussionists Guilherme Franco and Danny Johnson are superb in ensembles and guitarist Sam Brown guests on two selections. The emphasis is on the band's sound and Jarrett's rich melodies; he contributed eight originals to this enjoyable modern set.

The Out Of Towners - Keith Jarrett

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Keith Jarrett's "Standards Trio" with bassist Gary Peacock and drummer Jack DeJohnette has been so good for so long that they might be taken for granted, but this 2001 concert from Munich's State Opera shows their combination of depth and spontaneity can still surprise. Jarrett has a knack for marking his own path through familiar repertoire, from the playfully exuberant "I Can't Believe That You're in Love with Me" that opens the set to his deeply reflective solo version of "It's All in the Game." In between, the group's close-knit interplay enhances a limpidly beautiful version of "You've Changed," an up-tempo harmonic exploration of Cole Porter's "I Love You," and a hard-swinging account of Gerry Mulligan's "Five Brothers." The highlight, though, is the title track, a funky 20-minute tour de force that explores the blues from roots to branches.

Death Of The Flower - Keith Jarrett

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Keith Jarrett's Death and the Flower is a beautiful work of art that slowly develops over time. It is only three tracks with the best being the 22 minute title track. The songs start out slow and peacefully build as time passes. This is not an album you can put on for a quick fix, but one that takes time to develop. This is a perfect album for a relaxing sunday morning. The use of the percussion on this album is extremely intriguing. It gives the album a very "organic" feel to it. I am just now getting into Keith Jarrett's body of work so I can't say how this compares to his other albums, but I have to recommend this album to people who are looking for something that is beautiful, peaceful, and intriguing. Keith Jarrett is accompanied by Dewey Redman on saxophone, Charlie Haden on bass, Paul Motian on drums, and Guilherme Franco on percussion.

The Judgement - Keith Jarrett

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El Juicio is an excellent early Jarrett album and finds him in typically eclectic form with his classic American quartet. I nominate the opener, "Gypsy Moth," as the best piece on the record. Sounding a little like a more confident version of "Lisbon Stomp," from Jarrett's 1967 debut album Life Between the Exit Signs, Jarrett first whips up a rollicking theme on the piano and then switches to soprano sax towards the end, the rhythm section swinging hard throughout. "Toll Road" is more abstract, but the collapsing cymbal pattern paired with Charlie Hayden's pummeling bass lines creates an intriguing canvass for Jarrrett and Redman's sax improvisations. "Pre-Judgement Atmosphere" is a short percussion piece that manages to incorporate a steel drum into the mix. The title track is an ecstatic ten-minute free-improv wherein Jarrett pounds out and wails away (if you don't like Jarrett's wordless yelps, I'm living evidence that it is possible to get used to them, eventually). Melodic fragments are continually spun out and just as quickly squashed, and the whole band burns with a smoldering energy. "Piece for Ornette (Long Version)" is a tribute to the free jazz pioneer (and significant influence) Ornette Coleman. It's good, if a little too understated; Redman really shines on it, though. Jarrett has a sense of humor about it, as the following track is the twelve-second "Piece for Ornette

Solo Concerts: Bremen & Lausanne [LIVE] - Keith Jarrett

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Probably Jarrett's best...and that's really saying something considering his wonderfully diverse and prolific output. This is the three-record (now 2 CD) set that established him as a legendary solo improviser, broke all the rules about what kind of music was commercially "viable", and won endless awards. While it has been far outsold by the Koln Concert album, this collection is far deeper and more emotionally involving. If I had to choose one single Jarrett disk to own (and thank heaven I don't need to choose), this would probably be it. However, The Koln Concert may be a better introduction to his solo piano music for the uninitiated.These concerts contain some of the most beautiful passages you'll ever hear...all the more remarkable since they were totally improvised on the spot. Most amazing of all is that one of the concerts (Bremen) was performed while Jarrett was in excruciating pain from a back injury...he literally went from his hotel bed to the piano bench and back to bed afterwards.

Tokyo '96 - Keith Jarrett

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Keith Jarrett and his regular trio partners (Gary Peacock on bass, Jack DeJohnette on drums) turn in an above average performance on this live disc recorded in Tokyo's Orchard Hall. Thanks to ECM's pristine recording, we are treated to every skittering whisper of DeJohnette's brushes, the remarkable geometry of Peacock's bass and, of course, Jarrett's telltale vocal exclamations. And on Tokyo, he gets off to a quick start, letting out a spirited whoop as the bass and drums of "It Could Happen to You" cascade into his rolling melody. From there, Jarrett is in good spirits and fine form, including wonderfully intertwined and melodic renditions of "Billie's Bounce" and "My Funny Valentine." Not only a welcome addition to the Jarrett shelf for fans, but a terrific place to begin an appreciation of the pianist.

Still Live - Keith Jarrett

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Possibly the best album Jarrett has ever put out. This would be a great CD to give anyone to introduce them to this jazz piano great. His trio is in top form as they add their unique flavor to these enduring jazz standards. There is not a single bad song on this album. Great for jazz neophytes, fans, and curious listeners alike.

The Melody at Night with You - Keith Jarrett

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In contemporary jazz it is sometimes difficult, at least for novices, to recognise the difference between a technically proficient musician and a truly great one. The Melody At Night, With You, a collection of rich piano solos released on CD late last year by jazz pianist Keith Jarrett, is an unambiguous demonstration of great jazz musicianship and further proof that he is one of the more significant jazz pianists to emerge since the 1960s.

Recorded in Jarrett's own studio, the album consists of improvisations on standards written by Duke Ellington, George and Ira Gershwin, Oscar Hammerstein and Jerome Kern—some of the 20th century's greatest composers of American popular music—and one Jarrett original. It includes “I Loves You Porgy”, “I Got It Bad And That Ain't Good”, “Don't Ever Leave Me”, “Someone To Watch Over Me”, “Blame It On My Youth/Meditation”, “Something To Remember You By”, “Be My Love”, “Shenandoah” and “I'm Through With Love”.

The album, which was recorded in 1997 when Jarrett was fighting a protracted battle with the debilitating Chronic Fatigue Syndrome (CFS), has none of the extraordinary technical wizardry characteristic of his early career. And while the effects of CFS may explain the occasional melancholic tone on some tracks, the CD demonstrates Jarrett's complete mastery of the instrument, reaching emotional depths rarely achieved by most contemporary jazz pianists.

The most memorable tracks for me are Jarrett's version of the traditional sea shanty “Shenandoah” and George and Ira Gershwin's standard “I Loves You Porgy”. Despite the obvious emotional richness of these songs—I must admit that when I heard a few bars of “I Loves You Porgy” it almost reduced me to tears—Jarrett's playing never lapses into sentimentality.

The Paris Concert - Keith Jarrett

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The Paris Concert is a live solo piano album by seminal American pianist Keith Jarrett, and released by ECM Records. It was recorded on October 17, 1988 at the Salle Pleyel, in Paris, France in front of a live audience.
The first track on the album is simply entitled "October 17, 1988," named after the day of the concert. It is one of Jarrett's unpremeditated solo works; a 38 minute-long improvisation without pause. The first 7 to 8 minutes is a very dark, classically influenced, almost chorale-like ostinato in C minor, very reminiscent of a church hymn played on an organ. After leaving this melodic development, Jarrett plays a repeated bass vamp in his left hand that has almost a rock-ish feel to it, and in his right hand he improvises some very intense, almost sinister lines eluding to F minor and B-flat minor. After resolving again with the slow Baroque-esque themes again, he concludes. The second track, a ballad by American jazz composers Russ Freeman and Jerry Gladstone entitled "The Wind,", is relatively brief at just over six minutes long; Jarrett uses much of his classical training and technique to embellish the lyrical melody. Finally, the third track is another shorter piece, an improvised C major blues, played in a sultry, slow New Orleans "street beat" style.

The Koln Concert

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The Köln Concert is a recording released through ECM by the renowned jazz pianist Keith Jarret, who performed solo improvisations at the Cologne Opera House in Köln/ Cologne in 1975. The concert is in three parts, lasting 26 minutes, 34 minutes and 7 minutes, respectively. As the concert was originally published on LP, the second part was split into parts labeled "IIa" and "IIb". Part IIc actually is a 3rd part, the encore. The Köln Concert has been hailed as a masterpiece by critics, "flowing with human warmth."