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Jazz - Released July 13, 2012 | Deutsche Grammophon ECM

Hi-Res Distinctions 4F de Télérama - Choc de Classica - Indispensable JAZZ NEWS - Hi-Res Audio - Stereophile: Recording of the Month
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Jazz - Released May 7, 2010 | ECM

Hi-Res Booklet Distinctions Choc de Classica - Hi-Res Audio - Stereophile: Record To Die For
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Jazz - Released May 8, 2015 | ECM

Hi-Res Booklet Distinctions Choc de Classica - Sélection JAZZ NEWS - 5 Sterne Fono Forum Jazz
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Jazz - Released November 15, 2013 | Deutsche Grammophon ECM

Hi-Res Booklet Distinctions Elu par Citizen Jazz - Hi-Res Audio - Top du mois de Jazznews
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Jazz - Released June 28, 1993 | ECM

Hi-Res Booklet Distinctions The Qobuz Ideal Discography - The Qobuz Standard
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Jazz - Released June 13, 2014 | ECM

Hi-Res Booklet Distinctions Choc de Classica - Indispensable JAZZ NEWS
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Jazz - Released May 8, 2000 | ECM

Distinctions The Qobuz Ideal Discography - The Qobuz Standard
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Jazz - Released May 8, 2015 | ECM

Hi-Res Booklet Distinctions The Qobuz Ideal Discography - The Qobuz Standard
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Jazz - Released October 2, 2009 | Deutsche Grammophon ECM

Hi-Res Booklet Distinctions Elu par Citizen Jazz - Hi-Res Audio
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Jazz - Released May 24, 2013 | Deutsche Grammophon ECM

Hi-Res Booklet Distinctions Sélection FIP - Hi-Res Audio
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Jazz - Released February 3, 2012 | ECM

Distinctions Pianiste Maestro - Choc de Classica
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Jazz - Released October 19, 2018 | ECM

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Jazz
Keith Jarrett’s solo discography is a bottomless pit that he’s been digging out since the end of the ‘60s, with about 25 albums and counting. It’s an ever-changing collection, much like the career of this pianist from Allentown. In 2002, after some serious health problems, Jarrett got back up on stage alone in Japan. Four years later, on 19th July 2006, he’s still alone, this time on the stage of the prestigious Teatro La Fenice, THE great Venetian Mecca for opera. Unlike his past concerts, which consisted of long improvisations of thirty or even forty minutes, he now focuses his performances around shorter pieces that are often linked to each other. Such is the case for this album recorded at La Fenice. Jarrett immediately throws himself body and soul into an ocean of notes, one of his 17-minute improvisations, amazing in its technique and to which only he holds the secret. The atonality collides with highly melodic sequences, jazz and classical music irrigating each of his ideas. Hold on tight or you’ll fall out your saddle! The level of musicality and the originality of his phrasing leaves you constantly fascinated by his unparalleled playing. It’s a language that speaks to everyone, both expert and beginner. And even when he goes off the beaten track to cover My Wild Irish Rose, Blossom and Stella By Starlight, his music is quite irresistible. © Marc Zisman/Qobuz
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Jazz - Released November 4, 2016 | Deutsche Grammophon ECM

Booklet Distinctions Choc de Classica
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Jazz - Released October 19, 2018 | ECM

Booklet Distinctions 5 Sterne Fono Forum Jazz
Keith Jarrett’s solo discography is a bottomless pit that he’s been digging out since the end of the ‘60s, with about 25 albums and counting. It’s an ever-changing collection, much like the career of this pianist from Allentown. In 2002, after some serious health problems, Jarrett got back up on stage alone in Japan. Four years later, on 19th July 2006, he’s still alone, this time on the stage of the prestigious Teatro La Fenice, THE great Venetian Mecca for opera. Unlike his past concerts, which consisted of long improvisations of thirty or even forty minutes, he now focuses his performances around shorter pieces that are often linked to each other. Such is the case for this album recorded at La Fenice. Jarrett immediately throws himself body and soul into an ocean of notes, one of his 17-minute improvisations, amazing in its technique and to which only he holds the secret. The atonality collides with highly melodic sequences, jazz and classical music irrigating each of his ideas. Hold on tight or you’ll fall out your saddle! The level of musicality and the originality of his phrasing leaves you constantly fascinated by his unparalleled playing. It’s a language that speaks to everyone, both expert and beginner. And even when he goes off the beaten track to cover My Wild Irish Rose, Blossom and Stella By Starlight, his music is quite irresistible. © Marc Zisman/Qobuz
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Jazz - Released January 24, 2014 | ECM

Hi-Res Booklet Distinctions Hi-Res Audio
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Jazz - Released May 8, 2015 | ECM

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
One of the best recordings for Keith Jarrett's mid-'70s American quartet (whose style differed sharply from its European doppelgänger), The Survivors' Suite opens with Jarrett's aching, breathy sigh on the bass recorder, evoking the sound of a horn somewhere across a great expanse of fog. Percussion soon punctuates the melodic line to give the opening a more spiritual, ritualistic feel, which is only the first of many mutations that this album will go through. Divided into two parts, entitled "Beginning" and "Conclusion," this suite effortlessly flows between its movements which range from fiery free jazz to open, meditative atmospheric pieces showing heavy input from indigenous musics to instrumental solos that owe a sylistic debt to the music of the previous decade. Jarrett has strong solos in both the first and second track, but his performances rise to the surface frequently to add warmth to the suite. The greatest contribution that he makes on this album, however, is as a composer, as its complex components seem to nestle together seamlessly again and again, even if the solos occasionally rapidly expand and contract with kinetic energy. As strong a hand as Jarrett has in this album, however, he definitely owes a debt to his supporting players, especially the passionate Dewey Redman and skilled Paul Motian, but Charlie Haden plays an important role in the execution of the suite as well, even if only to provide a skeleton to hang the more fluid elements on. Like other albums of its time, this was beginning to show the brightness, lightness, and soft edges of contemporary jazz, but the solidness of Haden's bass helps keep it rooted and earthbound. ~ Stacia Proefrock
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Jazz - Released November 4, 1985 | ECM

Distinctions Stereophile: Record To Die For
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Jazz - Released January 11, 2013 | Deutsche Grammophon ECM

Hi-Res Booklet Distinctions Hi-Res Audio
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Jazz - Released March 2, 2018 | ECM

Hi-Res Booklet
"Another live album from Jarrett's trio?" It's hard not to let out a little yelp as the Allentown pianist continues his apparently-infinite discographic march, aided by drummer Jack DeJohnette and bassist Gary Peacock. But after listening to the first-ever release of this concert from 14 November 1998 at Newark's New Jersey Performing Arts Center, you might start to see where producer Manfred Eicher was coming from when he decided to bring this one out. Keith Jarrett even said himself: “I was amazed to hear how well the music worked. For me, it's not only a historical document, but a truly great concert.” As ever, the three friends move quickly through a few classics from the Great American Songbook but also a few wonders by John Coltrane ( Moment’s Notice), Bud Powell (Bouncin' With Bud) and Sonny Rollins (Doxy). Above all, that evening signalled that Keith Jarrett was back in business after two years spent offstage for health reasons. From 1996 to 1998 the pianist was suffering from Chronic fatigue syndrome, or CFS, and hearing his return to form here is a real treat. Let's resist the temptation to start waxing lyrical about the fascinating complicity between Jarrett and his rhythm section, and just say that After The Fall is a record that speaks with one voice. It's an original voice, as is the re-reading of Bud Powell that opens the concert - and swing proudly reigns at its heart. This world first is also a ray of sunshine and a burst of infectious joy. As ever, DeJohnette and Peacock merrily create jaw dropping havoc on Bouncin' With Bud... In short, it would have been a crime to leave these tapes in the archive. © Max Dembo/Qobuz
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Jazz - Released October 27, 1995 | ECM

Artist

Keith Jarrett in the magazine