731104 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
first set
01 radio intro (00:32)
02 Still Life, Still Life (first part) (29:02)
03 Still life Still Life (2Nd part) (theme stated on piano) (12:13)
04 Track 03 (11:50)
05 Yaqui Indian Folk Song (02:03)
TT 55:52
Second set
06 Radio intro (0:09)
07 (If The) Misfits (Wear It)> (20:52)
08 track6 (12:35) fade out/in during sax solo at 6:46
09 Fort Jawuh (17:44) Fade out/in during sax solo at 8:53
10 yaqui Indian Folk Song (1:29)
TT 53:02 731120-21-22-23 25 American Quartet + 1
Dewey Redman (ts, musette, maracas) Keith Jarrett (p, ss, tamb) Charlie Haden (b)
Paul Motian (dr, perc) Guillerme Franco (perc)
November 20 21 22 23 24 25 1973, Village Vanguard, New York, NY
730000 Keith Jarrett Solo (BR)
Keith Jarrett (p)
Freiburg
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see 750121
730000 Keith Jarrett Solo
Keith Jarrett (p)
1973, Montmartre, Copenhagen, Denmark
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Track 1 (5:35)
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Track 2 (32:40)
1974 740104 American Quartet
Keith Jarrett (p) Dewey Redman (ts, tamb) Charlie haden(b) Paul Motian(dr)
January 4th 1974, Kosei Nenkin Hall, Tokyo, Japan
740105 American Quartet
Keith Jarrett (p) Dewey Redman (ts, tamb) Charlie haden(b) Paul Motian(dr)
January 5th 1974, Kosei Nenkin Hall, Tokyo, Japan
740106 American Quartet
Keith Jarrett (p) Dewey Redman (ts, tamb) Charlie haden(b) Paul Motian(dr)
January 6th 1974, Kosei Nenkin Hall, Tokyo, Japan
740108 American Quartet
Keith Jarrett (p) Dewey Redman (ts, tamb) Charlie haden(b) Paul Motian(dr)
January 8th 1974, Citizens’ Auditorium, Nagoya, Japan
740110 American Quartet
Keith Jarrett (p) Dewey Redman (ts, tamb) Charlie haden(b) Paul Motian(dr)
January 10th 1974, Kaikan Hall 1, Kyoto, Japan
740111 American Quartet
Keith Jarrett (p) Dewey Redman (ts, tamb) Charlie haden(b) Paul Motian(dr)
January 11th 1974, Denki Hall, Fukuoka, Japan
740112 American Quartet (BR) (di) (+++)
Keith Jarrett (p) Dewey Redman (ts, tamb) Charlie haden(b) Paul Motian(dr)
January 12th 1974, Yubin-Chokin Hall, Tokyo, Japan
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The Rich (And The Poor) (15:47)
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Everything That Lives Laments (18:52)
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Track 3 (11:13)
740113 American Quartet
Keith Jarrett (p) Dewey Redman (ts, tamb) Charlie haden(b) Paul Motian(dr)
January 13th 1974, Sankei Hall, Osaka, Japan
740114 American Quartet
Keith Jarrett (p) Dewey Redman (ts, tamb) Charlie haden(b) Paul Motian(dr)
January 14th 1974, Kosei Nenkin Hall, Tokyo, Japan
740115 American Quartet
Keith Jarrett (p) Dewey Redman (ts, tamb) Charlie haden(b) Paul Motian(dr)
January 15th 1974, Kosei Nenkin Hall, Tokyo, Japan
740227-28 American Quartet + 2
Dewey Redman (ts, tamb) Keith Jarrett (p, ss, osi dr) Sam Brown (g -4,8) Charlie Haden (b) Paul Motian (dr, perc) Guilherme Franco, Danny Johnson (perc)
February 27th & 28th 1974, Generation Sound Studios, New York, NY
1 The Rich (And The Poor) (Keith Jarrett) 9.18
2 Blue Streak (Keith Jarrett) 2.33
3 Fullsuvollivus (Fools Of All Of Us) (Keith Jarrett) 6.28
4 Treasure Island (Keith Jarrett) 4.26
5 Introduction (Keith Jarrett)
Yaqui Indian Folk Song (traditional) 2.15
6 Le Mistral (Keith Jarrett) 9.25
7 Angles (Without Edges) (Keith Jarrett) 5.16
8 Sister Fortune (Keith Jarrett) 4.22
9 Death And The Flower (Keith Jarrett) 10.02
1-9: Keith Jarrett - The Impulse Years, 1973-1974 (Impulse IMPD 5-237)
1-8: Keith Jarrett - Treasure Island (Impulse AS 9274)
Review by Thom Jurek [-]
Treasure Island, released in early 1974, was the second of two albums pianist and composer Keith Jarrett recorded for Impulse Records -- the first was Fort Yawuh, issued a year earlier. Cut at Generation Sound Studios in New York City, the band consisted of Jarrett on piano and soprano saxophone, Dewey Redman on tenor, bassist Charlie Haden, and drummer Paul Motian. And though he would more than likely disagree, this was the best band he ever led. In addition to the quartet, guitarist Sam Brown contributes to a pair of cuts here as Guilherme Franco and Danny Johnson add percussion to the mix. The set kicks off with the beautiful "The Rich (And the Poor)," a folkish melody of the type Jarrett was exploring on ECM at the time, with some stellar African undertones -- it's easy to hear the majesty of Abdullah Ibrahim's South African musical sphere in this mix, and earthy deep, sparer work by Redman and Haden. The brief "Blue Streak," by contrast, is full-on and busy with melody and interplay between Redman and Motian. More speculative group improvisation occurs on "Fullsuvollivus," which travels decidedly outside, and the title cut with Sam Jones on electric guitar in place of Redman is a lithe, elegant, midtempo ballad that showcases Jarrett's truly magnificent melodic work in front of this enlarged rhythm section. The hardest groover on this set is their killer "Le Mistral," with some gorgeous interplay between Haden and Motian, and some extended solo work by Redman. "Angles (Without Edges)" is a dense construction that involves some taut counterpoint between Redman and Jarrett, even as the rhythm section tries to push them both inside toward one another -- Redman slips out of the frame a few times to excellent effect. Haden's solo is also particularly noteworthy. Brown returns on the closer "Sister Fortune," a track with almost rockist overtones. Jarrett had perhaps heard some records in his day, particularly from the Atlantic catalog, and he put that spin on this melody, which incorporates groove, repetitive and circular rhythm, and a songlike melodic structure with minimal improvisation -- though his own fills are quite stunning and deep in the pulse pocket. This is a terrific sendoff to a very fertile, creative period and begs the question as to what else may have happened had this band been able to explore their unique, fully communal sound together for more than a pair of albums.
740317 Keith Jarrett + Orchestra
March 17, 1974 Alice Tully Hall, New York -
Dennis Russell Davies
Kenneth K.: "Jarrett was the featured soloist in Carla Bley's '3/4 for piano and
Orchestra' conducted by Dennis Russell Davies. (...)
This may be his first encounter with Dennis Russell Davies with whom he would work over
the next two decades. Bley's piece required a pianist well above her
skill set; not sure exactly how Jarrett was approached but the concert
took place on a Sunday afternoon, just two days before his engagement at
the Vanguard. Jarrett would reprise this performance that December in
Minneapolis, where he performed a series of concerts for quartet and
serious compositions, including a piece from 'In the Light'."
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