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Jazz - Released July 13, 2012 | ECM

Hi-Res Distinctions 4F de Télérama - Choc de Classica - Indispensable JAZZ NEWS - Stereophile: Recording of the Month
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Jazz - Released July 13, 2012 | ECM

Hi-Res Booklet Distinctions 4F de Télérama - Choc de Classica - Indispensable JAZZ NEWS - 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
The reason to mention the "particulars" of this document of informal sessions is because Keith Jarrett went to the trouble of doing so in his liner notes: they came about in the aftermath of he and Charlie Haden playing together during Ramblin' Boy, a documentary film about Haden. The duo, who hadn't played together in over 30 years, got along famously and decided to do some further recording in Jarrett's Cavelight home studio without an end result in mind. The tapes sat -- though were discussed often -- for three years before a decision was made to release some of them. Jasmine is a collection of love songs; most are standards played by two stellar improvisers. Picking out highlights on this eight-song, hour-long set is difficult because the dry warmth of these performances is multiplied by deeply intuitive listening and the near symbiotic, telepathic nature of the playing. The entire proceeding flows seamlessly. The depth of emotion in Peggy Lee's and Victor Young's "Where Can I Go Without You" opens the world of the bereft lover -- and Haden's solo seems to make her/him speak. Jarrett's intro to "I'm Gonna Laugh You Right Out of My Life," by Cy Coleman and Joseph McCarthy, reveals in its lyric just how woefully ironic this tune is. The loss and reverie steeped in false bravado are expressed in Jarrett's arpeggios and underscored by Haden's emphasis on single notes during the changes and a deep woody tone he gets in the combination of skeletal flourishes during Jarrett's solo. On the surface it might seem that the inclusion of Joe Sample's "One Day I'll Fly Away" is an odd inclusion; yet it acts on some level as the hinge piece for the set. Its simplicity and sparseness are offset by the profound lyricism Jarrett imbues it with. Haden asserts, quietly of course, that the complex emotions in the tune go beyond any language -- other than music's -- to express. After a devastatingly sad reading Gordon Jenkins' "Goodbye" with Jarrett at his most poignant and clean, a brief reading of Jerome Kern's and Oscar Hammerstein's "Don't Ever Leave Me" closes the set. The way it's played, this tune is not a plea, but a poetically uttered assertion between lovers. Jasmine is, ultimately, jazz distilled to its most essential; it not only expresses emotion and beauty, but discovers them in every moment of its performance. © Thom Jurek /TiVo
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Jazz - Released September 6, 1982 | ECM

Hi-Res Booklet Distinctions Elu par Citizen Jazz - Hi-Res Audio - Top du mois de Jazznews
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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 January 1, 1975 | ECM

Distinctions The Qobuz Ideal Discography - The Qobuz Standard
Like the Mona Lisa for the Louvre, Keith Jarrett's Köln Concert is a showcase for ECM. With 4 million copies sold, it is not only the biggest success in the label's history but also the best-selling piano solo album! And many of those who bought this live recording, recorded on January 24, 1975 in the Cologne Opera House, did not yet own a jazz album in their record collection. Yet the world phenomenon had the most unfavourable conditions that evening. The American pianist was exhausted from a long car journey, had back pain and found another cheap grand piano on stage instead of the Bösendorfer he had ordered. "I think Keith played so well precisely because of this mediocre piano," said producer Manfred Eicher later. "Because he couldn't fall in love with the sound of this instrument, he adjusted his playing accordingly in order to make the best out of it in spite of everything." But what remains, beyond the anecdotes and records, of what the 1400 listeners heard that evening? Jarrett was 30 years old at the time and had already had a successful career with 15 records and two formative experiences in the bands of Charles Lloyd and especially Miles Davis. By 1975 he had already developed a very personal style of expression. Although Bill Evans' influence is unmistakable, his improvisations were unique, as this Cologne Concert proves. Lyrical and meditative elements are interwoven. Jarrett emphasizes the permeability of the genres by nourishing his jazz (is it jazz at all?) with elements from classical music, gospel, folk or certain Latin American musical styles. Notes gush out of his piano like a torrent and sing an ode to improvisation. In 1992, he told Der Spiegel that over time the Köln Concert had become a kind of film music. "We must learn to forget music," he added. "Otherwise we will become addicted to the past."
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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 October 4, 1999 | ECM

Distinctions The Qobuz Ideal Discography - The Qobuz Standard
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Jazz - Released November 30, 1975 | ECM

Hi-Res Booklet Distinctions The Qobuz Ideal Discography - The Qobuz Standard
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Jazz - Released May 24, 2013 | ECM

Hi-Res Booklet Distinctions Sélection FIP - Hi-Res Audio
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Jazz - Released January 1, 2009 | ECM

Hi-Res Booklet Distinctions Elu par Citizen Jazz - Hi-Res Audio
Ranked #12 in JazzTimes' "Top 50 CDs of 2009." © TiVo
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Jazz - Released November 4, 2011 | ECM

Distinctions Pianiste Maestro - Choc de Classica
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Classical - Released June 14, 2019 | ECM New Series

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
As part of Keith Jarrett’s rather extensive project on the works of the Cantor of Leipzig, an interpretation on harpsichord of Livre I from J. S. Bach’s The Well-Tempered Clavier was recorded in February 1987 and released in 1988. The recording dates from the same time as this new piano version by ECM New Series recorded 7 March 1987 in Troy Savings Bank Music Hall. Of the same fluid drive in terms of the discourse, it holds an irresistible energy and is a particularly welcome interpretation of these invigorating and interpretable fugues (in C flat Major). Everything seems to dance and be in movement (D Major). The same feelings found throughout the polyphonies of pianists such as Tatiana Nikolayeya and Samuel Feinbeg or even a harpsichordist like Gustav Leonhardt are not present here. For Keith Jarrett, Bach represents the triumph of structure, and he plays Bach above all to confront one of his own artistic missions: polyphonic elaboration. The works of the Thomaskantor work as a medium for his own musical creativity as a jazzman and improvisor. The poetry and emotion are nevertheless ever-present. This is a version that will give real pleasure to all lovers of Keith Jarrett’s, allowing the comparison of two interpretations realized within two weeks of each other. Pierre-Yves Lascar/Qobuz 
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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 | ECM

Booklet Distinctions Choc de Classica
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Jazz - Released October 9, 2000 | ECM

Distinctions The Qobuz Ideal Discography
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Jazz - Released May 12, 2003 | ECM

Distinctions The Qobuz Ideal Discography
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Jazz - Released November 1, 1976 | ECM

Hi-Res Booklet Distinctions Hi-Res Audio
Restlessly searching out new territory for improvisations, Keith Jarrett tackles the massive Karl Joseph Riepp "Trinity" Baroque pipe organ at the Benedictine Abbey in Ottobeuren, Germany. He starts out with a pastoral "Hymn of Remembrance," then embarks upon a long nine-movement series of "Spheres" before closing with a grand "Hymn of Release." The devotee of Jarrett's piano will quickly discover that his organ idiom has nothing to do with his piano performances; he likes slow-moving, pulseless, sometimes dissonant, sometimes reverent or ecstatic smears of sound (which makes practical sense in the hugely reverberant churches where pipe organs are found). In the ninth movement, Jarrett can fool you into thinking that he is playing floating electronic space music (on an 18th-century organ!). Yet if one must apply a category, despite the improvisatory element, this double-LP is contemporary classical organ music, much closer to that of Olivier Messiaen than anything in the jazz world -- and only intermittently as striking. © Richard S. Ginell /TiVo
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Jazz - Released January 1, 1977 | ECM

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
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Jazz - Released May 1, 1977 | ECM

Distinctions Stereophile: Record To Die For

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Keith Jarrett in the magazine
  • ECM turns 50!
    ECM turns 50! Manfred Eicher’s Munich-born music label celebrates half a century of jazz different from the norms, bringing the traditionally African-American genre to Europe and beyond…
  • Hamburg ’72: Impressions from producer Manfred Eicher
    Hamburg ’72:  Impressions from producer Manfred Eicher Manfred Eicher gives Qobuz an exclusive insight into the concert recorded in Hamburg 42 years ago, providing a context to the live album's release.