299:( .. ) The combination of Charlie Haden and Paul Motian probably seemed incongruous to most musicians before they actually heard the musical results of the session, but it points to one of the important aspects of Jarrett's uncanny creative intuition. He had always been open to the expressive powers of all kinds of music, whereas many players tended to have strong stylistic prejudices, both in terms of listening to and playing music. Unfortunately, most people who really love Bill Evan's music are not so fond of Coleman's stylings, and vice versa. Jarrett had a strong affection for both and realized that aspects of their musical attitudes could not only work compatibly with each other but could also result in an entirely different kind of trio. Only he himself could act as the catalyst. He observed that, at this point in his musical development, he was more interested in exploring than in swinging. Although this trio didn't romp in the more traditional manner of the Lloyd group when it had a full head of steam going, their music certainly managed to swing in its own way. And it had a wide-open, searching quality as a result of the courageous assemblage of a band whose members played quite differently from one another but shared more than enough common ground to enable the music to cohere convincingly."
473:, Jim Todd wrote: "Haden rumbles, throbs, and drones, marvelously lost in bass reverie. Motian has begun to transcend traditional ideas about tempo and to extract absolutely remarkable sounds from his kit. With brushes alone, his sonic palette includes frantic, flapping, prehistoric birds caught in drain pipes and 60-pound bags of sand pelting into banks of fresh snow. In a program of originals and one standard, Jarrett feeds off his partners with strategies informed by key influences from Bill Evans to Cecil Taylor."
312:"I have been asked to say something about the music in this album. I would like very much to do so; however, if there were words to express it, there would be no need for the music. I can speak for Paul, Charlie and myself on an extra-musical level (or a human one). The music is, after all, sincere, so do not question its meaning. What you feel or experience from it is what it is. It is no more and no less than that."
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still had reservations about
Jarrett's first featured recording and assigned him to their subsidiary Vortex label. However, Avakian did secure him the luxury of engaging any musicians with whom he wanted to record. After deciding on the piano-trio format, it took a bit of time and thought to make the
465:
is a "straightforward session that (..) ultimately succeeds as a consistent document of where
Jarrett came from and who he was ultimately to become (..) a remarkable first outing from a pianist who has inarguably become as important as his sources, moving the tradition forward while at the same time
486:
Writing for London Jazz News, Mike
Collins commented: "Listening to the first notes of 'Lisbon Stomp'... is startling. The... track seems now like quintessential Jarrett with a hint of a boppish turn in the melodic phrase, an exuberant rocky flourish to resolve the harmony and slivery, fluid runs
482:
stated that, in comparison with
Jarrett's later "Standards Trio" recordings, "it is immediately apparent how much more straightforwardly rhythmic Jarrett sounds in 1967, but as yet how uncomfortably co-ordinated he is with the group." They continued: "'Lisbon Stomp' is a cracking opener. The two
483:
tunes called 'Love No. 1 and No. 2' are extremely individual and 'Life..." itself has the distinctive jazz/pop/country feel one associates with
Jarrett. What is as yet unformed is his ability to shape a group as if it were a single instrument compounded of different personalities."
29:
318:"I must add a word about the recording session. It was done without any restrictions whatsoever on the music. Mr. Avakian (man of many worlds) supervised the recording but not one alteration in the music was made. I am extremely grateful for this."
743:
487:
launching the improvisation. Somehow, the sound from a slightly dead sounding piano is unmistakably his. It's as if he emerged fully formed with a distinct voice at the very beginning of his long career."
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260:, Jarrett having long been an admirer of both, Haden having played with Coleman (1959–60) and Motian having played with Evans (1959–64). "Margot" is an homage to Jarrett's wife.
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744:"CD REVIEW: Keith Jarrett- Original Album Series: Life Between the Exit Signs, Restoration Ruin, Somewhere Before, The Mourning of a Star, El Juicio"
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315:"The exits involved are those which everyone is capable of utilizing. I hope they can be glimpsed through our music."
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223:, in New York City and released on April 1, 1968, under the record label Vortex, a subsidiary label of
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Excerpts from
Jarrett's notes on the original Vortex 1968 issue include:
249:
reissued it along with extensive liner notes by
Professor Bill Dobbins.
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599:"Keith Jarrett: El Juicio (The Judgement)/Life Between the Exit Signs"
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36:
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648:"Life Between the Exit Signs - Keith Jarrett | AllMusic"
276:, an experienced producer and A&R man who had worked for
272:"The Charles Lloyd Quartet was being managed at the time by
496:
All songs written by Keith
Jarrett, unless otherwise noted.
268:
As stated by Bill
Dobbins on the 2004 reissue liner notes:
227:. It is the first session featuring Jarrett, bassist
627:. Translated by Jarrett, Chris. Equinox. p. 62.
170:
Keith
Jarrett American Group (first trio) chronology
1927:
The Montreal Tapes: with Geri Allen and Paul Motian
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292:to their roster. In spite of the group's success,
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252:The tracks are quite influenced by the music of
1765:On Broadway Vol. 4 or The Paradox of Continuity
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219:as a leader. It was recorded on May 4, 1967 at
637:Dobbins, B. Atlantic 8122-73756-2 Liner notes
351:
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711:Keith Jarrett - Life Between the Exit Signs
520:"Long Time Gone (But Not Withdrawn)" - 4:55
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239:reissued the album paired with Jarrett's
1669:Paul Motian and the Electric Bebop Band
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466:maintaining a clear reverence for it."
1474:Mysteries: The Impulse Years 1975–1976
16:1968 studio album by Keith Jarrett
1789:Live at the Village Vanguard Vol. III
1589:It Should've Happened a Long Time Ago
723:Cook, Richard; Morton, Brian (2006).
332:
7:
1781:Live at the Village Vanguard Vol. II
725:The Penguin Guide to Jazz Recordings
523:"Life Between the Exit Signs" - 6:53
353:
215:is the first jazz album by pianist
1020:Invocations/The Moth and the Flame
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676:The Encyclopedia of Popular Music
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479:Penguin Guide to Jazz Recordings
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280:and signed such jazz legends as
836:Gary Burton & Keith Jarrett
1271:Keith Jarrett at the Blue Note
1127:Solo Concerts: Bremen/Lausanne
742:Collins, Mike (June 5, 2015).
1:
1859:Tethered Moon Play Kurt Weill
1076:The Melody at Night, with You
384:Encyclopedia of Popular Music
1935:Live at the Village Vanguard
1773:Live at the Village Vanguard
1685:Reincarnation of a Love Bird
1482:The Impulse Years: 1973–1974
1012:G.I. Gurdjieff: Sacred Hymns
820:Life Between the Exit Signs
463:Life Between the Exit Signs
304:Original Liner notes (1968)
212:Life Between the Exit Signs
183:Life Between the Exit Signs
144:Life Between the Exit Signs
22:Life Between the Exit Signs
2002:
1821:The Windmills of Your Mind
625:Keith Jarrett: A Biography
623:Sandner, Wolfgang (2020).
297:final choice of teammates.
221:Atlantic Recording Studios
1944:
1911:In the Year of the Dragon
1757:I Have the Room Above Her
1367:Paris / London: Testament
1343:The Carnegie Hall Concert
908:El Juicio (The Judgement)
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242:El Juicio (The Judgement)
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26:
264:Background and making of
1986:Atlantic Records albums
1693:At the Village Vanguard
584:accessed September 2020
1709:Flight of the Blue Jay
844:The Mourning of a Star
673:Larkin, Colin (2011).
526:"Church Dreams" - 6:17
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1981:Vortex Records albums
1867:Chansons d'Édith Piaf
1415:A Multitude of Angels
713:accessed, 13 May 2020
510:"Everything I Love" (
501:"Lisbon Stomp" - 6:06
1971:Keith Jarrett albums
1805:On Broadway Volume 5
1725:Play Monk and Powell
1661:On Broadway Volume 3
1637:On Broadway Volume 2
1629:On Broadway Volume 1
1255:At the Deer Head Inn
980:The Survivors' Suite
924:Death and the Flower
328:Professional ratings
237:Collectables Records
1797:Time and Time Again
1741:Holiday for Strings
1581:The Story of Maryam
1263:Standards in Norway
507:"Love No. 2" - 4:32
504:"Love No. 1" - 6:17
476:The authors of the
329:
235:together. In 1999,
71:, New York City, US
1875:Experiencing Tosca
1842:, Paul Motian and
1466:Compilation albums
1327:The Out-of-Towners
1207:Personal Mountains
1004:The Celestial Hawk
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1966:1968 debut albums
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1541:Conception Vessel
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1159:Eyes of the Heart
1151:Sun Bear Concerts
1044:Standards, Vol. 2
1028:Standards, Vol. 1
679:. Omnibus Press.
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1898:and Paul Motian)
1840:Masabumi Kikuchi
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1455:Bordeaux Concert
1447:Budapest Concert
1351:My Foolish Heart
1311:Always Let Me Go
1143:The Köln Concert
1119:Somewhere Before
828:Restoration Ruin
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729:Penguin Books
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1613:One Time Out
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868:Expectations
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751:. Retrieved
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656:. Retrieved
652:allmusic.com
651:
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461:stated that
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37:Studio album
1947:Discography
1526:Paul Motian
1439:Munich 2016
1399:Hamburg '72
1295:Whisper Not
1111:Live albums
948:Arbour Zena
805:Discography
753:January 15,
709:Kelman, J.
608:January 15,
597:Todd, Jim.
555:Paul Motian
550:double-bass
512:Cole Porter
290:Miles Davis
233:Paul Motian
60:May 4, 1967
52:April 1968
1960:Categories
1892:Geri Allen
1645:Bill Evans
1605:Misterioso
1359:Yesterdays
1303:Inside Out
1215:Changeless
1191:Still Live
1135:Fort Yawuh
1100:Last Dance
852:Facing You
565:References
258:Bill Evans
131:chronology
1854:(1990–91)
1565:Le Voyage
1431:La Fenice
1391:Somewhere
1319:Up for It
1287:Tokyo '96
1167:Nude Ants
964:Staircase
932:Mysteries
916:Back Hand
884:Belonging
531:Personnel
323:Reception
1919:Segments
1832:Tethered
1407:Creation
1335:Radiance
1279:La Scala
1239:The Cure
1175:Concerts
603:AllMusic
580:Discogs
514:) - 4:33
471:AllMusic
347:AllMusic
117:Producer
69:Atlantic
57:Recorded
49:Released
39: by
1677:Trioism
1549:Tribute
1383:Sleeper
1231:Tribute
1084:Jasmine
1052:Spirits
1036:Changes
988:My Song
972:Byablue
658:18 July
196:(1968)
187:(1967)
157:(1968)
148:(1968)
1938:(1990)
1922:(1989)
1914:(1989)
1906:(1987)
1903:Etudes
1878:(2002)
1870:(1999)
1862:(1994)
1824:(2010)
1816:(2009)
1808:(2008)
1800:(2006)
1792:(2006)
1784:(2006)
1776:(2006)
1768:(2005)
1760:(2004)
1752:(2004)
1744:(2001)
1736:(2000)
1733:Europe
1728:(1998)
1720:(1997)
1712:(1996)
1704:(1995)
1696:(1995)
1688:(1994)
1680:(1993)
1672:(1992)
1664:(1991)
1656:(1991)
1648:(1990)
1640:(1989)
1632:(1988)
1624:(1988)
1616:(1987)
1608:(1986)
1600:(1984)
1592:(1984)
1584:(1983)
1576:(1981)
1568:(1979)
1560:(1977)
1552:(1974)
1544:(1972)
1533:Albums
1485:(1997)
1477:(1996)
1458:(2022)
1450:(2020)
1442:(2019)
1434:(2018)
1426:(2018)
1418:(2016)
1410:(2015)
1402:(2014)
1394:(2013)
1386:(2012)
1378:(2011)
1370:(2009)
1362:(2009)
1354:(2007)
1346:(2006)
1338:(2005)
1330:(2004)
1322:(2003)
1314:(2002)
1306:(2001)
1298:(2000)
1290:(1998)
1282:(1997)
1274:(1995)
1266:(1995)
1258:(1994)
1250:(1992)
1242:(1991)
1234:(1990)
1226:(1990)
1218:(1989)
1210:(1989)
1202:(1988)
1194:(1988)
1186:(1986)
1178:(1982)
1170:(1980)
1162:(1979)
1154:(1978)
1146:(1975)
1138:(1973)
1130:(1973)
1122:(1969)
1103:(2014)
1095:(2013)
1092:No End
1087:(2010)
1079:(1999)
1071:(1994)
1063:(1987)
1055:(1986)
1047:(1985)
1039:(1984)
1031:(1983)
1023:(1981)
1015:(1980)
1007:(1980)
999:(1978)
996:Bop-Be
991:(1978)
983:(1977)
975:(1977)
967:(1977)
959:(1976)
951:(1976)
943:(1976)
940:Shades
935:(1976)
927:(1975)
919:(1975)
911:(1975)
903:(1974)
895:(1974)
887:(1974)
879:(1973)
871:(1972)
863:(1972)
855:(1972)
847:(1971)
839:(1971)
831:(1968)
823:(1968)
683:
654:. 2011
341:Rating
338:Source
288:, and
88:Length
65:Studio
1573:Psalm
1557:Dance
860:Birth
692:1 May
559:drums
541:piano
105:Label
77:Genre
1886:Trio
1834:Moon
755:2022
694:2019
681:ISBN
660:2011
610:2022
256:and
1375:Rio
1962::
1894:,
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95::
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