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Keith Jarrett: Life Between the Exit Signs

 A l b u m   D e t a i l s


Label: Vortex Records
Released: 1968.04.01
Time:
 43:18
Category: Jazz
Producer(s): George Avakian
Rating:
Media type: CD
Web address: www.keithjarrett.org
Appears with: Jan Garbarek
Purchase date: 2014
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Lisbon Stomp (K.Jarrett) - 6:06
[2] Love No. 1 (K.Jarrett) - 6:17
[3] Love No. 2 (K.Jarrett) - 4:32
[4] Everything I Love (C.Porter) - 4:33
[5] Margot (K.Jarrett) - 3:45
[6] Long Time Gone [But Not Withdrawn] (K.Jarrett) - 4:55
[7] Life Between the Exit Signs (K.Jarrett) - 6:53
[8] Church Dreams (K.Jarrett) - 6:17

 A r t i s t s ,   P e r s o n n e l


Keith Jarrett - Piano, Liner Notes
Charlie Haden - Double-Bass
Paul Motian - Drums

George Avakian - Producer, Liner Notes
Phil Ramone - Engineer
George Rosenblatt - Photography
Loring Eutemey - Cover Design

 C o m m e n t s ,   N o t e s


Recorded in May 4, 1967 at Atlantic Recording Studios, New York City.

Life Between the Exit Signs is a jazz album by pianist Keith Jarrett. It was recorded on May 4, 1967 at Atlantic Recording Studios, in New York City. It was released April 1, 1968, under the record label Vortex, a subsidiary label of Atlantic Records. It features pianist Keith Jarrett, bassist Charlie Haden and established drummer Paul Motian. The tracks on the album are heavily influenced by Ornette Coleman and Bill Evans, Jarrett having long been an admirer of both, Haden having played with Coleman and Motian having played with Evans.



Not long after recording '66's Buttercorn Lady with Art Blakey, and Dream Weaver , which signalled the beginning of his association with Charles Lloyd's hugely popular quartet, pianist Keith Jarrett was encouraged by Lloyd producer George Avakian to make his first recording as a leader. Jarrett's immediate popularity in Downbeat 's Readers poll for that year was instrumental in his being able to attain complete artistic freedom, a characteristic that has ultimately defined his entire career. Life Between the Exit Signs finds a nascent Jarrett wearing some of his primary influences on his sleeve—Bill Evans, Paul Bley and Ornette Coleman most notably—but, even so, many of his defining qualities as a distinctive player are already in evidence.

Beginning an association with bassist Charlie Haden and drummer Paul Motian that was to last for nearly ten years, Jarrett demonstrates a penchant for overt lyricism on "Margot" and "Love No. 1," a somehow distinctly American flavour on "Lisbon Stomp," and free playing on the title track and "Love No. 2," which follow the Ornette Coleman modus operandi of structured themes leading into completely open improvised sections. He even covers one standard, Cole Porter's "Everything I Love," to show his love of the Great American Songbook, a characteristic that would, of course, be brought to greater fruition with his now twenty-year old Standards Trio with Gary Peacock and Jack DeJohnette.

Haden, having already spent a good deal of time with Coleman, brings a strong sense of adventure coupled with a clear sense of history and tradition. Motian, at that time better known for his more subdued work with Bill Evans, gets the opportunity to play in a looser setting, displaying his abilities as textural player and colourist that would gain him a greater reputation in years to come.

But as strong as Haden and Motian are as musical personalities, it is Jarrett who clearly shines on this recording. Less concerned with some of the more odd choices that he made in the mammoth '70 session that resulted in three intriguing but largely uneven recordings— The Mourning of a Star, El Juicio and Birth —this is a more straightforward session that, while perhaps less widely experimental, ultimately succeeds as a more consistent document of where Jarrett came from and who he was ultimately to become. Life Between the Exit Signs is 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 maintaining a clear reverence for it.

JOHN KELMAN - July 12, 2004
© 2014 All About Jazz



A student of classical piano since he was big enough to sit on a piano stool, Keith Jarrett became a composition student at 15 and gave a full-scale recital of his own works at 16. After graduating from the Berklee School of Music, he formed his own trio in Boston, played briefly with Roland Kirk and Art Blakey’s Jazz Messengers. The story of the Quartet’s successes from San Francisco to Moscow and back again is also, of course, part of Keith Jarrett’s story as well. Charlie Haden, the bassist in this recording, is a musician who earned prominence as a member of the original Ornette Coleman Trio which exploded on the jazz scene in the middle fifties. Paul Motian, best known for his long association with the Bill Evans Trio, is one of the most sensitive drummers in jazz. Virtually his entire career has been spent with small groups, where the delicate nuances of sound which he draws from his instruments have won him a unique position of respect.

JPC.de



„Er lässt ‚Love No. 1‘ und ‚Margot‘ in romantischer Stimmung klingen, mit leichtem Funk punktet der Opener ‚Lisbon Stomp‘, nur selten durften Haden und Motian wie beim letzten Track der LP, ‚Church Of Dreams‘, eigene Akzente setzen.“

Good Times, April/Mai 2014
 

 L y r i c s


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