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Keith Jarrett: In The Light

 A l b u m   D e t a i l s


Label: ECM Records
Released: 1974
Time:
 45:45 / 45:28
Category: Jazz
Producer(s): Manfred Eicher, Keith Jarrett
Rating:
Media type: CD
Web address: www.keithjarrett.org
Appears with: Jan Garbarek, Jack DeJohnette
Purchase date: 2015
Price in €: 1,00





 S o n g s ,   T r a c k s


Disc One

[1] Metamorphosis (K.Jarrett) - 19:24
[2] Fughata for Harpsichord (K.Jarrett) - 5:29
[3] Brass Quintet (K.Jarrett) - 20:53


Disc Two

[1] A Pagan Hymn (K.Jarrett) - 7:32
[2] String Quartet (K.Jarrett) - 16:41
[3] Short Piece for Guitar and Strings (K.Jarrett) - 3:56
[4] Crystal Moment (K.Jarrett) - 4:58
[5] In the Cave, in the Light (K.Jarrett) - 12:18

 A r t i s t s ,   P e r s o n n e l


Keith Jarrett - Piano, Gong, Percussion, Conductor, Liner Notes, Producer, Recording Supervision
String Section of the Südfunk Symphony Orchestra Stuttgart - Orchestra
Mladen Gutesha - Conductor
The American Brass Quintet - Orchestra
The Fritz Sonnleitner Quartet - Orchestra
Ralph Towner - Guitar
Willi Freivogel - Flute

Manfred Eicher - Producer, Recording Supervision
K. Rapp - Engineer
M. Scheuermann - Engineer
Martin Wieland - Engineer
Barbara Wojirsch - Artwork, Cover Design, Design, Layout Design
Georges Braunschweig - Photography
R. Truckenmüller - Cover Photography

 C o m m e n t s ,   N o t e s


1974 LP ECM Records ECM-1033/34

Recorded in Ludwigsburg, West Germany in February, 1973.

In the Light is a double album of contemporary classical music by Keith Jarrett which was recorded and released on the ECM label in 1973. The Allmusic review by Richard S. Ginell awarded the album 3 stars noting "In this compendium of eight works for all kinds of ensembles, the then-28-year old Jarrett adamantly refuses to be classified, flitting back and forth through the centuries from the baroque to contemporary dissonance, from exuberant counterpoint for brass quintet to homophonic writing for a string section".



One look at my other Keith Jarrett reviews is enough to confirm that I have been guilty of separating his skills as performer and improviser from those of his role as composer. After listening to an album such as In The Light, however, I begin to suspect that for him they are one and the same.

The lush flavors of Metamorphosis for flute and strings are a most substantial appetizer to the many courses that follow in this early foray into larger territories. Soloist Willi Freivogel soars through the orchestra’s empty skies with a free and easy charm, bringing a pastoral sound in which memory is more than recreated; it is relived. Jarrett’s balance of density and linearity speaks with the same sense of total concentration and calculated surrender to the melodic moment as his most admirable improvisations. Moods and techniques take sudden turns, as in a particularly inventive passage during which the members of the orchestra tap their instruments for a pointillist interlude. The album has its fair share of similarly expansive works, including the enchanting Short Piece For Guitar And Strings (with Ralph Towner on nylon), and the anthemic In The Cave, In The Light (pairing Jarrett on piano, gong, and percussion with orchestra). While the latter two never quite scale the heights of Metamorphosis, they are so distinctly realized that one is hard-pressed to make a case for such comparisons. A smattering of chamber works rounds out this ambitious double effort, of which the String Quartet is the most appealing. Its pseudo-neoclassical style is sharp, taut, and uplifting. Unfortunately, Crystal Moment for four celli and two trombones doesn’t work so much for me, and seems to meander from the album’s otherwise steady path. The Brass Quintet, on the other hand, is a wonderful hybrid of timbres and chameleonic styles. Two solo pieces, Fughata for Harpsichord and A Pagan Hymn (both played by Jarrett on piano), provide the sharpest angles in a gospel-Baroque pastiche.

Overall, the idiomatic slipperiness of In The Light keeps us on our toes and ensures that we never outstay our welcome in any given label. Though perhaps a daunting journey to take in one sitting, it is nevertheless a deep insight into one of contemporary music’s most fascinating figures. These orchestral projects are in some ways Jarrett’s most “experimental.” Then again, isn’t experimentation what music is all about?

ECM Records



Even before his solo concerts became popular successes, Keith Jarrett was clearly getting a free hand from ECM founder Manfred Eicher, as this ambitious double album of classical compositions proves. In this compendium of eight works for all kinds of ensembles, the then-28-year old Jarrett adamantly refuses to be classified, flitting back and forth through the centuries from the baroque to contemporary dissonance, from exuberant counterpoint for brass quintet to homophonic writing for a string section. Though the content is uneven in quality, Jarrett is clearly sincere and skilled enough to exploit his European roots with only a handful of syncopated references to his jazz work. The strongest, most moving individual pieces are the strange, gong-haunted "In the Cave, In the Light" (the probable source of the title of Jarrett's publishing company, Cavelight); "Metamorphosis," with its rich, flowing string lines, prominent solo flute, and free journeys in and out of tonality; and the Bartok-streaked String Quartet. Jarrett himself plays formal solo piano in the eclectic "Fughata" and "A Pagan Hymn," and even conducts the Stuttgart Radio Symphony strings. All of it is richly recorded in the ECM way, making four strings sound like twelve.

Richard S. Ginell - All Music Guide
 

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