Keith jarrett birth - The Köln Concert - Wikipedia


From 1971 to 1976, Jarrett added saxophonist Dewey Redman to the existing trio with Haden and Motian (who produced one more album as a trio, called The Mourning of A Star for Atlantic Records in 1971). The so-called "American quartet" was often supplemented by an extra percussionist, such as Danny Johnson, Guilherme Franco , or Airto Moreira , and occasionally by guitarist Sam Brown . The quartet members played various instruments, with Jarrett often being heard on soprano saxophone and percussion as well as piano; Redman on musette , a Chinese double-reed instrument; and Motian and Haden on a variety of percussion. Haden also produced a variety of unusual plucked and percussive sounds with his acoustic bass, even running it through a wah-wah pedal for one track ("Mortgage on My Soul", on the album Birth ). The group recorded two albums for Atlantic Records in 1971, El Juicio (The Judgement) and Birth ; another on Columbia Records called Expectations (that included guitar by Sam Brown, plus string and brass arrangements and for which Jarrett's contract with the label was terminated within a month of its release [12] ); eight albums on Impulse! Records ; and two on ECM .

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In a 1992 interview with the German magazine Der Spiegel , Jarrett complained that the album had become nothing more than a soundtrack. "We also have to learn to forget music," he added. "Otherwise we become addicted to the past." [6]

Avakian organized a lengthy tour of Europe for Jarrett’s trio in 1969, and during it Jarrett gave one of his first in-depth interviews, to French jazz journalist Francois Postif. He expressed intense feelings of artistic solitude and resentment of the poor reviews that Restoration Ruin had received, and discussed the government harassment that he and his brothers had endured as a result of their conscientious-objector stance against the Vietnam War. He also elaborated on the difference between his private and performing self: “I’m very demonstrative when I play. I always make faces, laugh, jump about, gesticulate, and am very animated, and many people who see me like that think that I’m much more reserved when I’ve left my piano. In reality, I feel truly at ease only in music.”


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