383:, and I figured that if they wrote too, I could just be in the band. So one reason this last session sounds so different has to do with my relinquishing control of the sessions. When I told them to bring in their own tunes, the underlying statement was: 'I think you feel too comfortable playing what we have here, and maybe I'm not writing the right material -so why don't you bring in some material that
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own fiercely dramatic musical ethos. At the other end of the spectrum lay the Redman tunes, each of them influenced by the airy compositional structures used by his former employer, Ornette
Coleman (and sounding more like Ornette's tunes than anything Jarrett had written). Haden's contributions captured a little of both:
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fit comfortably ito the band's legacy. The last session does not. Jarrett says that by the time it rolled around, "I thought, 'Look, the only way to do this is to complete the job I said I'd do without being embarrassed about it.' But I knew there was a limited time because the band was coming to an
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The results stand as something unusual when placed alongside the rest of the band's work. The noticeable differences in material and in the band's performance seemed to many to signal a new direction, influenced by Motian's dreamy, almost weightless compositions, and by the de-emphasis on
Jarrett's
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In scheduling these marathon recording sessions, Jarrett had a quite pragmatic purpose. "I was trying to fulfill my contract with
Impulse," he explains: he felt the time had come to move on, and he owed the label four records. The first session proceeded in the same manner as his earlier recordings
272:
document the swan song of
Jarrett's American Quartet in several ways, but most of all the inclusion of compositions by members other than Jarrett himself deliver another taste. While that did not happen before, for what would be the quartet's final recording sessions, Jarrett requested that band
325:, so named for the strikingly lovely and much-recorded Charlie Haden composition that had debuted on Bop-Be.) Also, in the spring of 1976 -in between the two sessions that make up this package- the Jarrett Quartet recorded two albums that eventually appeared on ECM Records:
407:, artistically and musically the group had already given its best: "Interesting as this experiment proved, it did not convince Jarrett that his most pessimistic assessments were misplaced. The music failed to kick-start the band into a higher orbit."
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review by
Richard S. Ginell stated, "The band certainly doesn't sound as if it was ready to break up; the interplay is telepathic, the musical ideas are still fresh, and there is a willingness to experiment. Highly recommended."
313:, both of them released on LP in 1976. A little less than one year later, the band returned to the studio in its working-quartet configuration -that is, minus percussionist Guilherme Franco- and recorded the tracks that became
301:(which contains all the tracks recorded in that period, including alternate takes) the following was the story of Jarrett's American Quartet last "marathon recording sessions" taking place from December 1975 to October 1976:
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would like to play?' I purposely didn't write anything for that last session because I knew I would have wanted to record those songs, and then I would have ended up directing another session."
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remains an especially affecting piece of purposeful languor, while his dedication to trumpeter Don Cherry reflects the work that both of them did with
Ornette in the early 60s.
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transcribes a few
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end; and I also knew there wasn't the right kind of energy in the band to try anything other than programmatic changes."
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is one of the last albums recorded by the so-called 'American
Quartet' of
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details on his 1996 extensive notes found in the compilation album
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Keith
Jarrett - piano, soprano saxophone, percussion
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label in 1977, it features performances by
Jarrett,
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All compositions by Paul Motian except as indicated
277:consisted primarily of Paul Motian's pieces, while
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68:Generation Sound Studios, New York City (USA)
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665:. USA: Random House/Rolling Stone. pp.
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256:. Musically speaking, even though the album
287:Background: disbanding the American Quartet
283:included Redman and Haden's contributions.
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174:Keith Jarrett American Quartet chronology
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1396:Mysteries: The Impulse Years 1975–1976
369:Mysteries: The Impulse Years 1975-1976
298:Mysteries: The Impulse Years 1975-1976
16:1977 studio album by Keith Jarrett
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661:The Rolling Stone Jazz Record Guide
598:Barney Perkins - remixing engineer
472:The Rolling Stone Jazz Record Guide
399:Tesser ends up assuming that after
942:Invocations/The Moth and the Flame
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536:"Rainbow" (Margot Jarrett) - 8:32
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601:Geoff Sykes - mastering engineer
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758:Gary Burton & Keith Jarrett
1193:Keith Jarrett at the Blue Note
1049:Solo Concerts: Bremen/Lausanne
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998:The Melody at Night, with You
595:Tony May - recording engineer
1404:The Impulse Years: 1973–1974
934:G.I. Gurdjieff: Sacred Hymns
604:Frank Mulvey - art direction
262:made it last to the market,
742:Life Between the Exit Signs
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1289:Paris / London: Testament
1265:The Carnegie Hall Concert
830:El Juicio (The Judgement)
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657:Swenson, J., ed. (1985).
533:"Konya" (Jarrett) - 3:21
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337:for the label, and both
1432:Impulse! Records albums
647:accessed September 2020
366:, on the text found in
766:The Mourning of a Star
629:Keith Jarrett: Byablue
607:Philip Chiang - design
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362:Having conversed with
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1337:A Multitude of Angels
1427:Keith Jarrett albums
1177:At the Deer Head Inn
902:The Survivors' Suite
846:Death and the Flower
416:Professional ratings
185:The Survivors' Suite
1185:Standards in Norway
579:- drums, percussion
564:- tenor saxophone,
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358:: the last sessions
327:The Survivors Suite
60:October 14–16, 1976
1388:Compilation albums
1249:The Out-of-Towners
1129:Personal Mountains
926:The Celestial Hawk
631:accessed June 2020
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240:. Released on the
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1413:
1081:Eyes of the Heart
1073:Sun Bear Concerts
966:Standards, Vol. 2
950:Standards, Vol. 1
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331:Eyes of the Heart
259:Eyes of the Heart
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157:Sun Bear Concerts
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1377:Bordeaux Concert
1369:Budapest Concert
1273:My Foolish Heart
1233:Always Let Me Go
1065:The Köln Concert
1041:Somewhere Before
750:Restoration Ruin
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548:"Byablue" - 3:42
545:"Yahllah" - 8:27
542:"Fantasm" - 1:12
539:"Trieste" - 9:37
530:"Byablue" - 7:19
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814:Treasure Island
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878:Hymns/Spheres
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734:Studio albums
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718:Keith Jarrett
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676:0-394-72643-X
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571:Charlie Haden
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518:Track listing
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421:Review scores
419:
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364:Keith Jarrett
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250:Charlie Haden
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232:Keith Jarrett
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126:Keith Jarrett
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42:Keith Jarrett
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982:Book of Ways
980:
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884:
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822:In the Light
820:
812:
804:
796:
790:Expectations
788:
780:
772:
764:
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660:
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583:
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562:Dewey Redman
523:
508:
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246:Dewey Redman
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137:
37:Studio album
1437:1977 albums
1361:Munich 2016
1321:Hamburg '72
1217:Whisper Not
1033:Live albums
870:Arbour Zena
727:Discography
643:Ginell, R.
577:Paul Motian
373:Neil Tesser
293:Neil Tesser
254:Paul Motian
1421:Categories
1281:Yesterdays
1225:Inside Out
1137:Changeless
1113:Still Live
1057:Fort Yawuh
1022:Last Dance
774:Facing You
612:References
592:- producer
584:Production
128:chronology
1353:La Fenice
1313:Somewhere
1241:Up for It
1209:Tokyo '96
1089:Nude Ants
886:Staircase
854:Mysteries
838:Back Hand
806:Belonging
553:Personnel
411:Reception
343:Mysteries
311:Mysteries
139:Staircase
1329:Creation
1257:Radiance
1201:La Scala
1161:The Cure
1097:Concerts
627:Discogs
511:AllMusic
435:AllMusic
230:pianist
114:Producer
107:Impulse!
57:Recorded
49:Released
39: by
1305:Sleeper
1153:Tribute
1006:Jasmine
974:Spirits
958:Changes
910:My Song
894:Byablue
566:musette
401:Byablue
393:Silence
352:Byablue
323:Silence
315:Byablue
275:Byablue
264:Byablue
242:Impulse
223:Byablue
207:(1978)
198:(1977)
194:Byablue
189:(1977)
161:(1978)
152:(1977)
148:Byablue
143:(1977)
22:Byablue
1407:(1997)
1399:(1996)
1380:(2022)
1372:(2020)
1364:(2019)
1356:(2018)
1348:(2018)
1340:(2016)
1332:(2015)
1324:(2014)
1316:(2013)
1308:(2012)
1300:(2011)
1292:(2009)
1284:(2009)
1276:(2007)
1268:(2006)
1260:(2005)
1252:(2004)
1244:(2003)
1236:(2002)
1228:(2001)
1220:(2000)
1212:(1998)
1204:(1997)
1196:(1995)
1188:(1995)
1180:(1994)
1172:(1992)
1164:(1991)
1156:(1990)
1148:(1990)
1140:(1989)
1132:(1989)
1124:(1988)
1116:(1988)
1108:(1986)
1100:(1982)
1092:(1980)
1084:(1979)
1076:(1978)
1068:(1975)
1060:(1973)
1052:(1973)
1044:(1969)
1025:(2014)
1017:(2013)
1014:No End
1009:(2010)
1001:(1999)
993:(1994)
985:(1987)
977:(1986)
969:(1985)
961:(1984)
953:(1983)
945:(1981)
937:(1980)
929:(1980)
921:(1978)
918:Bop-Be
913:(1978)
905:(1977)
897:(1977)
889:(1977)
881:(1976)
873:(1976)
865:(1976)
862:Shades
857:(1976)
849:(1975)
841:(1975)
833:(1975)
825:(1974)
817:(1974)
809:(1974)
801:(1973)
793:(1972)
785:(1972)
777:(1972)
769:(1971)
761:(1971)
753:(1968)
745:(1968)
673:
573:- bass
429:Rating
426:Source
405:Bop-Be
356:Bop-Be
339:Shades
319:Bop-Be
307:Shades
280:Bop-Be
269:Bop-Be
252:, and
237:Bop-Be
203:Bop-Be
85:Length
65:Studio
782:Birth
102:Label
74:Genre
52:1977
671:ISBN
509:The
403:and
381:them
354:and
341:and
329:and
317:and
309:and
266:and
228:jazz
79:Jazz
1297:Rio
667:112
385:you
291:As
1423::
669:.
636:^
620:^
333:.
248:,
94:10
90:42
710:e
703:t
696:v
679:.
92::
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