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Keith Jarrett - Summertime

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Keith Jarrett Jarrett’s reputation grew during the 1970s in Europe and the United States. His honors included a Guggenheim Fellowship for composition and being named Rolling Stone’s Jazz Artist of 1973 and Down Beat’s Composer and Pianist of the Year in 1975. Solo Concerts — recorded in 1974 — was named record of the year by Down Beat, Stereo Review, Jazz Forum, Time and the New York Times. Jarrett began to split his time between his American quartet and the group of Scandinavian musicians — Jan Gabarek, Jo Christensen, and Palle Danieslsson — with whom he recorded Belonging. He brought them to New York in 1979 and sold out the venerable jazz club, the Village Vanguard, for five nights.

In his teens, as a student at Emmaus High School in Emmaus, Pennsylvania, Jarrett learned jazz and quickly became proficient in it. In his early teens, he developed a strong interest in the contemporary jazz scene; a Dave Brubeck performance was an early inspiration. At one point, he had an offer to study classical composition in Paris with the famed teacher Nadia Boulanger – an opportunity that pleased Jarrett's mother but that Jarrett, already leaning toward jazz, decided to turn down.

Following his graduation from Emmaus High School in 1963, Jarrett moved from Allentown to Boston, Massachusetts, where he attended the Berklee College of Music and played cocktail piano in local clubs. After a year he moved to New York City, where he played at the Village Vanguard.

In New York, Art Blakey hired Jarrett to play with the Jazz Messengers. During a show with that group he was noticed by Jack DeJohnette who (as he recalled years later) immediately realized the talent and the unstoppable flow of ideas of the unknown pianist. DeJohnette talked to Jarrett and soon recommended him to his own band leader, Charles Lloyd. The Charles Lloyd Quartet had formed not long before and were exploring open, improvised forms while building supple grooves, and they were soon moving into terrain that was also being explored, although from another stylistic background, by some of the psychedelic rock bands of the west coast. Their 1966 album Forest Flower was one of the most successful jazz recordings of the mid-1960s and when they were invited to play the Fillmore in San Francisco, they won over the local hippie audience. The Quartet's tours across America and Europe, even to Moscow, made Jarrett a widely noticed musician in rock and jazz underground circles. It also laid the foundations of a lasting musical bond with drummer Jack DeJohnette (who also plays the piano). The two would cooperate in many contexts during their later careers.

In those years, Jarrett also began to record his own tracks as a leader of small informal groups, at first in a trio with Charlie Haden and Paul Motian. Jarrett's first album as a leader, Life Between the Exit Signs (1967), was released on the Vortex label, to be followed by Restoration Ruin (1968), which is arguably the most bizarre entry in the Jarrett catalog. Not only does Jarrett barely touch the piano in the latter album, but he plays all the other instruments on what is essentially a folk-rock album, and even sings. Another trio album with Haden and Motian, titled Somewhere Before, followed later in 1968, this one recorded live for Atlantic Records.

Keith Jarrett Solo Tribute The 100th Performance In Japan1987

Keith Jarrett: Piano

Tags: piano jazz

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