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19720427 Keith Jarrett American Quartet + 2

April 27th 1972, Columbia Studio E, New York, NY

1 Sundance (Keith Jarrett) 4.27

Keith Jarrett - Expectations (C2K 65900)

Milano
Jarrett K. Trio (American)

Media: CD-R

Duration:

Sound quality: A

Source: audience

Note : The different songs are not divided in different tracks.

1. 
   Track 1 (22.00)
   
2. 
   Track 2 (Margot (Keith Jarrett) ?) (8.00)
   
3. 
   Track 3 (5.00)
   
4. 
   Track 4 (9.00)
   

1. Unknown / Bring Back The Time When (If) (21:59) [end Missing]

2. Standing Outside (Keith Jarrett) / Everything That Lives Lament / Lisbon Stomp (Jarrett)/ Unknown (25:10) ) [Cut at 24:59 - end Missing]


19720603 Keith Jarrett Trio (BR) +++

Keith Jarrett (p, ss, fl) Charlie Haden (b) Paul Motian (dr)

Székesfehérvár, Hungary (Alba Regia Jazz Festival)
01a (start ->) Bring Back The Time When (If) ['official version' on Expectations]

01b (7:00 -->) Lisbon Stomp (Jarrett)['official version' on Life Between The Exit Signs]

01c (16:00 –>) Moonchild (Keith Jarrett)

01d (22:30 –>)-02 Song For Che

03 The Magician In You (Keith Jarrett)['official version' on Expectations]

04 Piece For Ornette ['official version' on El Juicio]

05 Expectations (Keith Jarrett)

06 UT   (also in 1969 Cameleon Pt.1)

 
19720604 Keith Jarrett Solo (RO)

Heidelberg 1972

Sunday, June 4, 1972

Stadthalle, Heidelberg, Germany

Heidelberger Jazztage

Keith Jarrett (p, ss, fl) Charlie Haden (b) Paul Motian (dr)

June 9th 1972, France Studio 104, Maison de la Radio, Paris, France

[Suite 1]

01 - Coral (7:51)

02 - Forget Your Memories (and they’ll remember you) (18:23)

03 - Take me back (Keith jarrett) (9:33)

04 - Standing Outside (Keith Jarrett) (6:04)

05 - Track V (4:55)

06 - Piece for Ornette (Jarrett) (6:02)

07 - Common Mama (Jarrett) (13:07)

08 – Moonchild (Jarrett) (7:33)

09 - The Magician In You (Keith Jarrett)(9:12)

10 - Follow The Crooked Path (12:36)

11 - Expectations (Keith Jarrett) (10:02)

Encore

12 - Applause (1:49)

Keith Jarrett (p) Charlie Haden (b) Paul Motian (dr)

June 12th 1972, Arri Kino, Munich, Germany

1 Church Dreams (Keith Jarrett) 6.30

2 The Mourning Of A Star (Keith Jarrett)/ Follow The
Crooked Path (Though It Be Longer) 17.20

3 Coral 7.25

4 Piece For Ornette / Remorse / Rainbow (Margot Jarrett) 16.57

1-4: [CD] Keith Jarrett Trio Live Munich 1972

1 Church Dreams (Keith Jarrett) (7:01)

2 The Mourning Of A Star (Keith Jarrett) (14:12)

3 Follow The Crooked Path (Piano solo) (3:21)

4 Coral (Keith Jarrett) (7:37)

5 Piece For Ornette (Keith Jarrett) (5:01)

6 Remorse (Keith Jarrett) (7:45)

7 Rainbow (Margot Jarrett) (4:46)

9 The Magician in You (Jarrett) (8:56)

10 Everything that Lives Laments (Keith Jarrett) (5:58)

11 Starbright (Keith jarrett) (4:54)

12 Take me back (Keith jarrett) (5:52)

13 Unidentified soprano piece (5:14)

14 El Juicio (Keith jarrett) (10:51)

15 Expectations (Keith jarrett) (end is missing) (6:07)

100:25

Keith Jarrett (p, fl) Charlie Haden (b) Paul Motian (dr)

June 14th 1972, NDR Studio 10, Hamburg, Germany, NDR broadcast

1 Rainbow (Margot Jarrett)

2 Piece For Ornette (Jarrett)

3 Take me back (Keith jarrett)

4 Life Dance(Jarrett)

1-4: Various Artists - NDR Jazz Workshop '72 (Norddeutscher Rundfunk)

1. 
   El Juicio (Keith jarrett) (15:17)
   
2. 
   Moonchild (Keith Jarrett) (7:50)
   
3. 
   Follow The Crooked Path (6:23)
   
4. 
   Standing Outside (Keith Jarrett) (5:47)
   
5. 
   Bring Back The Time When (If) (7:31)
   
6. 
   Track 6 (9:23)
   
7. 
   Take me back (Keith jarrett) (7:10)
   
8. 
   Track 8 (3:45)
   
9. 
   Track 9 (13:12)
   
10. 
    Rainbow (Margot Jarrett) (9:34) [beginning missing]
    
11. 
    Everything That Lives Laments (Keith Jarrett) (2:40) [end missing
    

2. Follow The Crooked Path / Standing Outside (Keith Jarrett) / Bring Back The Time When (If) (20:50))

3. Rainbow (Margot Jarrett) / Everything That Lives Lament (19:22)

4. Piece For Ornette / Take me back (Keith jarrett) (17:36)

5. Life, Darn / Song For Che (17:03)

Forthcoming

1. 
   Rainbow (Margot Jarrett) (9:52)
   
2. 
   Everything That Lives Laments (Keith Jarrett) (9:44)
   
3. 
   Piece For Ornette(Jarrett) (9:32)
   
4. 
   Take me back (Keith jarrett) (8:07)
   
5. 
   Life, Dance (2:59)
   
6. 
   Song For Che(Haden) (15:08)
   

John Fordham

Free and easy … Keith Jarrett, Charlie Haden and Paul Motian in Hamburg in 1972

Let the debates begin. Which is a better disc featuring Keith Jarrett and Charlie Haden — the sublime, lovely, ballad-heavy Last Dance, released in June 2014, or Hamburg ’72, the raw and raucous blast from the past that was released Monday and which features Jarrett and Haden with drummer Paul Motian?

They are both marvellous records. Obviously, they complement each other in documenting and contrasting where Jarrett and Haden, two musical giants, were at these two poles of their collaborations.

Hamburg ’72 is a vibrant, florid reminder of how good Jarrett, Haden, who died in mid-July this year, and Motian, who died in November 2011, sounded together — not just as the core of Jarrett’s American Quartet in the mid-1970s, but also as a self-contained trio. (Previously, this first Jarrett trio had released Life Between The Exit Signs, recorded in 1967, when Jarrett was barely 22, followed by Somewhere Before and The Mourning of a Star.)

And it goes without saying that if you only know Jarrett as a superlative interpreter of standards with bassist Gary Peacock and drummer Jack DeJohnette, this album of original compositions and outward-bound playing will be revelatory.

This new album consists of six pieces played at a ECM-organized radio concert staged a few months after Jarrett’s debut on the label with his paradigm-shifting solo album Facing You. However, the tracks cast forward to the enthralling music that Jarrett would record on Impulse! with Haden, Motian and reedman Dewey Redman.

Hamburg ’72 covers a huge amount of musical and emotional ground. Its waltzing opener, Rainbow, which Jarrett recorded on the 1976 album Byablue, features the pianist at his most lyrical and accessible. At the same time, the trio sounds absolutely ecstatic and highly energized, and that holds true for the entirety of the disc.

Next comes the more sombre Everything That Lives Laments Haden is in top form, playing as his life depends on it, accompanied by Motian’s jangling bells, before Jarrett, tapping into a primal muse, joins in on wood flute. The trio expands heroically on the brief version of this piece that it recorded on The Mourning of a Star, and there’s even a smatter of applause from the Hamburg audience as the trio brings in the sorrowful tune.

Still, while the Hamburg version has its own rugged charm, it lacks the lilting release of the grooving piano solo — and that’s not to mention Redman’s coursing turn — heard when the American Quartet epically recorded Everything That Lives Laments on the 1976 album Mysteries.

Jarrett switches to soprano saxophone for Piece for Ornette, which also appears on the American Quartet album El Juicio. Brash, exultant free-bopping ensues. Haden propels in his singular way, Motian’s clatter is divine, and Jarrett’s horn progresses from swirling to deeply gruff and guttural, as much concerned with sound as notes.

The disc’s final two tracks practically belong to Haden, not that was coasting until then. Life, Dance’s  short, uplifting theme gives way to gutsy bass heroics. But that’s simply a prelude for Haden at his finest, as the trio segues into a grand, 15-minute foray through Haden’s own Song For Che, coloured by much percussion and the return of Jarrett’s raspy and even shrieking soprano saxophone.

For an recording that sat in the vaults for more than four decades, the album sounds lucid and highly charged, following the remix in July by ECM producer Manfred Eicher and Jan Erik Kongshaug. Only on the opening track, Rainbow, is Haden’s sound a little muffled and vague in the ensemble.

On one hand, Hamburg ’72 is like a long-missing piece of a larger ravishing puzzle, connected to recognized masterpieces, both contemporaneous and subsequent, from Jarrett, Haden and Motian.

But of course, it also stands up entirety in its own right, visceral, brilliant, unfettered and joyous, even if you don’t know its place in jazz history.                                          
By

JOHN KELMAN,

Published: November 26, 2014 | 809 views

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How we rate: our writers tend to review music they like within their preferred genres.

With Sleeper: Tokyo, April 16, 1979 (2012) and Magico: Carta de Amor (2012), ECM Records began digging into its archives, unearthing two live recordings that revealed even more about a collection of artists whose reputations were already plenty secure as some of the label's most important from its early years—in the first case, pianist Keith Jarrett's Scandinavian-centric "Belonging Quartet," with saxophonist Jan Garbarek

, bassist Palle Danielsson

and drummer Jon Christensen

; in the second, the Transatlantic trio of Norway's Garbarek, Brazilian pianist/guitarist Egberto Gismonti

and American bassist Charlie Haden

. Hamburg '72 is another significant find: a live recording that, unlike Sleeper and Carta de Amor, comes from a group that until now has never been documented on ECM but, like those 2012 sets, is another major winner that adds substantially to both the label's discography and the history of its participants.

Keith Jarrett's group with Charlie Haden and drummer Paul Motian



Paul Motian
1931 - 2011
drums

—musicians who, with Ornette Coleman

and Bill Evans

in their respective pedigrees, provided the pianist with as much freedom to explore as he could handle—had already begun its move from the trio first heard on Life Between the Exit Signs (Vortex, 1968) into the quartet with saxophonist Dewey Redman

that, ultimately known as his "American Quartet," debuted on two Atlantic albums released the previous year: El Juicio (The Judgement) and Birth. But when Manfred Eicher

organized a 1972 European tour for Jarrett—who had already begun what would ultimately become an exclusive tenure on the producer's relatively nascent ECM Records label the year prior, with an instant classic, Facing You, along with a more curious duo date with drummer Jack DeJohnette

, Ruta and Daitya—it was a trio tour that may well have been its last in that format, as Jarrett had already begun touring the US with Redman in tow.

"Everything That Lives Laments"—first heard on the trio's The Mourning of a Star (Atlantic) the previous year and later revisited on the quartet's Mysteries (Impulse!, 1975)—also shape-shifts, but this time from a brief balladic opening into a bass solo that, supported by Motian's chimes and bells, ultimately explores more folkloric territory when Jarrett rejoins, this time on wooden flute. The clarity and transparency of every instrument—including Jarrett's voice when he briefly sings along with his flute—is made all the more vivid by the trio's unfettered approach to taking what was originally a two-minute piece and turning it into a ten- minute epic journey that, when Jarrett returns to his piano and Motian his drums, traverses a broad dynamic expanse, with the pianist's firm touch something that is felt as much as it is heard.

While he's rarely given much credit for it, the nine-minute "Piece for Ornette"—this time featuring Jarrett alone, as opposed to the version on El Juicio that also includes Redman on tenor—suggests that Jarrett's relatively infrequent soprano saxophone work ought to be revisited. Here, bolstered by a "time, no changes" rhythm section where Haden anchors with near-running bass lines and Motian swings with a fire and intensity rarely heard, Jarrett is positively incendiary, sustaining lengthy rapid-fire lines, piercing multiphonics and searing screams.

"Take Me Back"—released the same year on his sole Columbia Records outing Expectations (1972) but, with guitarist Samuel T Brown

and percussionist Airto Moreira

in the mix, in a more clattering version— explores Jarrett's gospel predilections but, with Motian's exuberant punctuations piercing through Haden's simple but perfect support, is considerably more raucous and, consequently, joyous than his current Standards Trio. That's not a criticism of the pianist's longstanding group with bassist Gary Peacock

and drummer Jack DeJohnette

; only that Hamburg '72's trio at times sacrifices finesse for a more raw, unfettered and ultimately infectious energy that builds to a climax and then stops suddenly, leaving Jarrett alone to perform a segue that leads into the captivating "Life, Dance"—at just three minutes a brief miniature compared to the rest of the album's eight minute-plus tracks—that is the record's only previously unheard Jarrett composition, its sketch-like form creating the context for an in tandem bass and drums solo where Haden's robust, woody tone and resolute approach to simplicity and ultimate perfection in his every choice becomes one of the album's many highlights.

In fact, Hamburg '72 is a true milestone from the first of its 56 minutes to the last—a classic once lost, but now found again and sounding better than ever. A lengthy version of Haden's "Song for Che"—first heard on the bassist's classic Liberation Music Orchestra (Impulse!, 1969) and the only non-Jarrett original of the the set—closes Hamburg '72 on a particularly open-ended note, with Haden moving from visceral pizzicato to drone-based arco and Jarrett from piercing saxophone to more dramatically building piano, before Haden once again dominates and the 15-minute epic ends with a slow fade of Motian and Jarrett's percussion.

That Jarrett no longer engages in formal composition has been a subject for much discussion and debate in recent years. While his "from the ether" solo concerts and standards-based trio performances can rightly be considered spontaneous composition of the highest order, archival finds like Sleeper and Hamburg '72 do make the case for a certain loss when the pianist decided to put his writing pen down. While it seems unlikely that Jarrett will change his current stance, if ECM can continue to unearth recordings like the stellar Hamburg '72, there's hope that fans of Jarrett the composer—and Jarrett, the more freewheeling, reckless performer—will remain more than satisfied.