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Keith Jarrett: No End

 A l b u m   D e t a i l s


Label: ECM Records
Released: 2013.11.26
Time:
 78:23 / 74:41
Category: Jazz
Producer(s): Keith Jarrett
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


Disk 1:

[1] I (K.Jarrett) - 7:22
[2] II (K.Jarrett) - 3:37
[3] III (K.Jarrett) - 5:39
[4] IV (K.Jarrett) - 5:25
[5] V (K.Jarrett) - 3:39
[6] VI (K.Jarrett) - 5:36
[7] VII (K.Jarrett) - 4:05
[8] VIII (K.Jarrett) - 3:57
[9] IX (K.Jarrett) - 4:47
[10] X (K.Jarrett) - 2:32


Disk 2:

[1] XI (K.Jarrett) - 4:05
[2] XII (K.Jarrett) - 6:14
[3] XIII (K.Jarrett) - 3:48
[4] XIV (K.Jarrett) - 4:55
[5] XV (K.Jarrett) - 4:28
[6] XVI (K.Jarrett) - 2:45
[7] XVII (K.Jarrett) - 3:39
[8] XVIII (K.Jarrett) - 5:48
[9] XIX (K.Jarrett) - 7:12
[10] XX (K.Jarrett) - 3:03

 A r t i s t s ,   P e r s o n n e l


Keith Jarrett - Electric Guitars, Fender Bass, Drums, Tablas, Percussion, Recorder, Piano, Engineer, Producer, Liner Notes, Illustration

Manfred Eicher - Executive-Producer
Sascha Kleis - Design
David Foster Wallace - Liner Notes

 C o m m e n t s ,   N o t e s


2013 CD ECM - B0019452-02
2013 CD ECM - 6025 375 5519 2

Recorded 1986 at Cavelight Studio, New Jersey



No End was recorded at Cavelight, Keith Jarrett’s home studio, in 1986. In his liner notes he describes the setting:

“The Studio: Cables and cords everywhere. A drum set in the corner. Tablas and percussion, instruments of all kinds strewn around the room. A beautiful deep red Gibson solid-body on a vertical stand alongside a blond wood classic Fender bass in its stand, both in front of the same blond wood chair which was directly opposite the drums. The tablas were on my American Steinway. Microphone stands were in front of the guitars, holding (to the best of my knowledge) a Neumann stereo microphone, and I believe another identical microphone was on a boom over the tablas. All the other percussion was played using the room as the guide as to where to stand or how loud to play, though I had to do many tests to achieve some intuition about this. My studio is very small, so I didn't move the drum set at all, or the microphone while playing the drums.

In the control room were two Tandberg cassette recorders which were used exclusively for this project; so I would record something first, then overdub, using headphones as a guide to the volume or position I needed to use, then overdub (with headphones, always) again, each time transforming the new information to the ‘other’ machine. Then I would put the newly recorded tape in the first machine, start them both, and run into the studio to overdub or start the next piece. Not a single machine breakdown occurred despite the fact that no one was in the control room monitoring anything.

There was really, to my knowledge, no forethought or ‘composition’ (in the typical sense) going on; just a feeling or a rhythmic idea or a bass line concept or melody. But none of this was written down. Beginnings and endings were either hit-or-miss or just plain astoundingly intuitive.

I used a small mixing board and a little reverb to send the sound out to the headphones and simultaneously onto tape. I honestly can't remember a hell of a lot about the details, but somehow something happened during these days in the 80's that won't ever be repeated. I had wanted to record on drums most of my life, and when I got the tape out recently, I thought I'd better run with it.

(....) Drums were always with me in some way. (...) I have always been drawn to instruments that you touch directly, without a mechanism in between. Therefore, I cannot say I have ever loved the piano as much as the drums or the guitar. And, though I have a reputation for being in the acoustic world, I have always loved electric guitar.”

ECM Records



It is almost always revealing - if sometimes messy - to hear artists of great stature messing about in their home studios, making music they never intended anyone else to hear. Keith Jarrett's No End is such an effort: a two-disc archival home recording from 1986 on which he performs all the instrumental parts. It was cut only a year after the wide-ranging, multi-instrument, acoustic exercise Spirits with its notional nod toward global music. No End is a related but different animal. Jarrett plays piano here, but his primary instruments on this set are drums, electric guitars, basses, tablas, and other percussion, with piano and recorder added. Mostly, he plays and improvises on instinctive vamps and rhythms, and overdubs between two cassette recorders - there's a lot of hiss (very rare for ECM), but it's not distracting. No End proves that Jarrett loved rock & roll, blues, and funk as much as anything else at one time, and was a true son of the '60s and all they entailed. Not all of the world music notions from Spirits have been exorcized, but when they appear, they're usually woven inside a more "rockist" framework. This loose, groove-centric music is (mostly) interesting on two levels: one, because it's Jarrett playing it, but also because it contains its own charm. When these experiments don't work, it's more a lack of virtuoso guitar chops than ideas. He's good at the instrument, just not great. These 20 numbered pieces range in length from just under three minutes to over seven. These ideas develop according to the many faces of rhythm itself, not harmonic forethought. All the instruments are played with deep inner attention paid to them. On "II," the bass and drum attack is based on a speculative but meaty funk vamp; the guitars crawl in, speaking to one another in staggered lines and bumping into one another. The slippery drums on "III" offer a funky African groove as tablas and other percussion are layered into the backdrop with Jarrett's wordless chanted vocals as the guitars wind around a blues riff. "V" is Caribbean-flavored but its time is a basic 4/4. There is also a direct hint at jazz-funk, evidenced by "VII." The hard bass whomp on "XIII" goes head-to-head with stinging guitar lines in reply as a cowbell, tom-toms, and tablas drive it home. "XIV" contains a Spanish tinge, seemingly perceived through Ornette Coleman's late-'70s harmolodic music. No End will not appeal to everyone - especially not all Jarrett fans. But those who've closely observed his processes and evolution will likely embrace it, as will fans of experimental guitar-based rock. His reason for releasing it now can be gleaned from his short but illuminating liner essay, but suffice to say, it makes for a welcome addition to the catalog of one of the most mercurial musicians to emerge from the last century.

Thom Jurek - All Music Guide



Aufgenommen 1986 in seinem Heimstudio, offenbart No End bisher undokumentierte Aspekte in Keith Jarretts Musik. Er ist hier an elektrischen Gitarren, elektrischem Bass, Schlagzeug und Perkussion zu hören, wie er Overdubs über eigene Improvisationen spielt: “Irgendwie passierte in diesen Tagen während der 80er Jahre etwas, das sich nie wiederholen wird”, schreibt er in seinen Liner Notes. “Es gab, soweit ich mich erinnere, keinerlei Vorüberlegungen oder Kompositionen im herkömmlichen Sinn – nur ein Gefühl oder reine rhythmische Idee oder ein Konzept für eine Basslinie oder Melodie. Nichts davon war niedergeschrieben.“Über die Instrumentierung: “Schlagzeug war immer irgendwie mit mir”, reflektiert Jarrett. “Ich habe mich immer von Instrumenten angezogen gefühlt, die man direkt berührt, ohne einen zwischengelagerten Mechanismus. Von daher kann ich nicht von mir sagen, das Piano jemals so geliebt zu haben wie Schlagzeug oder Gitarre.” Hauptsächlich mit diesen Instrumenten (das Piano hat diesmal nur eine Art Cameo-Rolle) hat Jarrett eines seiner ungewöhnlichsten Alben gestaltet. No End ist sicher das Überraschungsalbum des Jahres.

Amazon.de



(4 stars) Jarrett impresses with his clarity of ideas and accomplishment...there is an optimistic buoyancy in this music that communicates over 20 pieces...Sometimes you have to pinch yourself as a reminder that all these sounds were made by Keith Jarrett.

Jazzwise, (Stuart Nicholson), February 2014



It really is quite an enjoyable listen, especially if, as Keith suggests, you turn the volume up. This not only picks up all the nuances of the electric instruments, but also Keith's singing along (yes, in tune!) and it lets the music function as it should: as a set of improvised grooves, loose, trance-like and open ended...it is richly funky at times.

The Jazz Breakfast, (Peter Bacon), December 6, 2013



As a series of overdubbed improvisations with, he claims, "no forethought or composition", it's quite amazing. How did he manage to keep all those moving parts in his head? More a curiosity than a masterpiece, but a real prize for Jarrett completists.

The Observer, (Dave Gelly), November 24, 2013



Fans of the great man (of which I must admit to being) will find it reflective, interesting and enjoyable.

Bebop Spoken Here, (Steve H.), November 18, 2013



As a series of overdubbed improvisations with, he claims, "no forethought or composition", it's quite amazing. How did he manage to keep all those moving parts in his head? More a curiosity than a masterpiece, but a real prize for Jarrett completists.

The Observer, (Dave Gelly), November 24, 2013



When Keith Jarrett released Spirits in 1986 on his longstanding/exclusive label, Germany's ECM Records, this two-disc home recording—featuring the pianist on a multitude of instruments in addition to his main axe, including a bevy or recorders and flutes, guitar, saz and percussion—came out of the blue to his legion of fans while, at the same time, not representing a total surprise. After all, at this point in time, the musically voracious Jarrett was busy recording and touring with his then-nascent Standards Trio; delivering epic solo piano performances like Concerts: Bregenz/Munich—first released in 1981 but finally issued on CD in its entirety for the first time concurrent with this release; and was looking to other instruments for improvisational grist, as he did with church organ on 1979's Hymns/Spheres (another recent reissue in complete form) and clavichord on 1986's Book of Ways.

But even those accomplishments did not represent the sum total of Jarrett's breadth since coming to ECM with the 1972 solo piano album that shook the world, Facing You. In addition, the pianist led two now-legendary bands in the '70s, each with their own separate repertoires, largely penned by the pianist: his American Quartet with Dewey Redman, Charlie Haden and Paul Motian; and the European "Belonging" Quartet that, with Jan Garbarek, Palle Danielsson and Jon Christensen, was recently heard on 2012's stellar archival unearthing, Sleeper—Tokyo, April 16, 1979. Jarrett was also composing classical music as early as 1974's In the Light (1974) while performing classical music written by others, including then-ECM newcomer, Estonian composer Arvo Part's Tabula Rasa (1984).

A lot has changed since those halcyon days, however: Jarrett, since being taken down for a number of years in the mid-'90s with Chronic Fatigue Syndrome, has largely reduced his regular work to just two contexts: the Standards Trio, last heard earlier this year on Somewhere; and solo performances like Rio (2011)—though he did return to classical performance earlier this year with the wonderful Bach: Six Sonatas for Violin and Piano (2013), featuring violinist Michelle Makarski.

Even so, Jarrett's overall musical purview has shrunken considerably over the years; while he asserts, quite correctly, that improvisation is a form of composition, he still has not put pen to paper and formally composed any new music for more than three decades; while his current activities can certainly be considered as more than enough, there remain those in his fan base who would love to see him turn back to writing the kind of music he did for his two 1970s quartets. If artists' activities can only be measured—by their fans, that is—by what they choose to release and perform in concert, then as brilliant as he remains as both an in-the-moment drawer of music from the ether with his solo shows and as a similarly unfettered interpreter of the Great American Songbook and jazz standards both well-known and obscure, then the Jarrett of the new millennium has become, if not in content, then certainly predictable in form.

Which makes the release of another unearthed piece of archival music, No End, something of a surprise—or, perhaps, it should be not so much of one.

Recorded just a year after Spirits, in 1986—and again at Jarrett's home studio ("Cavelight Studios") in New Jersey—No End bears some comparison to its predecessor. Like Spirits, the pianist does play his primary axe, but it's far from his main one; instead, No End's dominating instruments are electric guitars, bass and drums, along with some percussion, recorder and voice. Electric?!?!? some of you might say? Drums? From Keith Jarrett?

Well, while he has long been vocal about not liking electric keyboards, Jarrett has never come out against other instruments of the plugged-in variety, and it's important to remember that, while the majority of his career has been in the acoustic world, he is still a child of the '60s; he even performed Bob Dylan's "My Back Pages" on his 1968 live trio recording, Somewhere Before (Vortex), and Joni Mitchell's "All I Want" on the studio date with the same group, The Mourning of a Star (Atlantic, 1971). Just because his preferences lean to the acoustic side when it comes to piano, is it a reasonable assumption that the same applies across the board?

Clearly not, based on No End. And for those who thought they knew Jarrett, a warning: when you read, on a Keith Jarrett record, "Producer's Note: Play this music LOUD," well, you know this ain't Kansas you're in anymore.

The very electric nature of No End makes it a very different beast than Spirits, although there's a certain spirituality to both that does, at least, make them distant cousins. Most of No End's twenty, Roman-numbered tracks are based around either vamps or, as in the case of the Phrygian "I," very simple chord progressions. Jarrett is clearly not as accomplished an instrumentalist here as he is on piano; though he turns out to be a surprisingly good drummer, on electric guitar he clearly commands some language, but is not always successful at actually articulating it. Still, there's something intrinsically charming about being a fly on the wall of Jarrett's home studio, where he plays music for nobody but himself, and explores avenues that are about as far away as can be imagined from the music that's garnered him his reputation as one of the most significant jazz pianists of the past half century.

It's a true mixed bag, with plenty of layering done by bouncing tracks between two two-track cassette decks (meaning a lot of hiss). Based on Jarrett's guitar and bass parts, and with his in-the-weeds singing, "V" could be something sourced from the Caribbean, but his straightforward, four-to-the-bar drumming keeps it situated a little farther north. "VI," on the other hand, is more outré, Jarrett's background guitar chords revealing that earlier-referenced broader language, even if his single-note work feels a little more rudimentary and his bends are those of someone for whom guitar is clearly not a primary instrument.

And who would ever have expected Keith Jarrett of the mid-'80s to create music that actually rocks, is at times sloppily funky and elsewhere, with Jarrett's tablas and hand percussion, approaches a kind of meditative world music?

The music of No End is ultimately incidental to its real value: evidence that there was a time when Jarrett was far less sedentary in his ways; perhaps even more importantly, however, that after nearly 30 years, Jarrett has chosen to release these recordings also reveals something important about where he is now. Not that anyone has to worry about showing up to a Jarrett show to find him with the "beautiful deep red Gibson solid body" of the recording strapped on, but there's something revealing In his brief liner notes, when he says, ..." somehow something happened during these days in the '80s that won't ever be repeated. I had wanted to record on drums most of my life, and when I got the tape out recently, I thought I'd better run with it."

While it's up for discussion as to whether or not it's possible to attain some of the milestones we achieve when we're younger—there are certainly artists who, in their sixties and seventies, are consistently putting out the best music of their career. No End may well not be Jarrett at his best—even nearly three decades ago in 1986—but it Is proof positive that assumptions—even those with solid empirical support—are rarely complete truths. Jarrett may have spent the better part of his long career honing the possibilities of a single instrument within a largely singular genre, but his interests clearly reach farther afield. Hard though it may be to believe, nestled within Jarrett the jazz interpreter and spontaneous composer is Jarrett the rock-edged instigator, polyrhythmic explorer and folkloric investigator.

No End is a decidedly and surprisingly lo-fi recording from the normally pristine ECM. But for the window that these 92 minutes open into what were, at the time, some of Jarrett's private inspirations, No End may not be a great record, but it is an important one.

JOHN KELMAN - November 18, 2013
© 2014 All About Jazz



"Das mit seiner rockenden Atmosphäre und hippieesken Haltung aufgenommene ,,No End" ist zwar naiv und hermetisch. Dennoch werfen die 20 Stücke ein überraschendes Licht auf Keith Jarrett: nicht auf den egozentrischen Künstler und launischen Jazzmusiker, sondern auf einen sensiblen, verletzlichen Menschen, der einen unverstellten Blick in seine Seele erlaubt."

Jazzthing, Februar/März 2014



"Ich bin viel zu beschäftigt, meine Musik zu spielen, als dass ich ihr Namen oder Titel geben könnte. Das ermöglicht den Klängen, ohne jede Ablenkung einfach da zu sein", so Keith Jarrett in den 70ern.

Auch das aktuelle Doppelalbum "No End" ist schlicht von "I" bis "XX" nummeriert. In musikalischer Hinsicht fällt die Platte jedoch komplett anders als der Großteil seiner reinen Pianokonzerte. Der Tastenmagier degradiert sein geliebtes Klavier vorübergehend zum Statisten und spielt stattdessen ein fettes Fusionwerk mit elektrischer Gitarre, Fender-Bass, Drums und Tablas ein. Das Ergebnis ist einmal mehr beeindruckend.

Die Aufnahmen stammen allesamt aus dem Jahr 1986. Warum nur hat Jarrett mehr als ein Vierteljahrhundert gebraucht, der Welt diese berauschenden Töne zu schenken? Ganz einfach: Jarrett stammt aus einer Zeit, in der es möglich war, Musik als reine Ekstase zu begreifen. Ein emotionales Erlebnis, das Schablonen-Mucke und -Denken gleichermaßen aufzubrechen sucht. Dem Publikum möchte er mit dieser Doppel-CD und ihren improvisierten, ungewohnten Klängen lieber Fragen stellen als Antworten aufzwingen. "Die Zeiten waren 1986 nicht ganz so schmerzvoll und eindimensional. Man konnte Musik für sich selbst sprechen lassen, ohne den Menschen eine bestimmte politische oder religiöse Sichtweise zu injizieren."

Mit der sehr rhythmischen Musik auf "No End" vermittelt er seinem Publikum Spaß und weckt Neugier. Jarrett bleibt Jarrett. Nach dem Genuss dieser guten anderthalb Stunden fühlt man sich wie neu geboren.

Percussion und Drums verleihen den Tracks einen recht ungewohnten Hauch südländischer Exotik. Ein Abstecher nach Lateinamerika hier ("II", "V"), eine Safari durch Afrika dort ("XIII"). Die Gitarre wandert - vor allem bei den Uptempo Tracks - nicht selten auf den Pfaden John McLaughlin anno "Bitches Brew". Jarrett lässt die alten Tage als Mitglied von Miles Davis' Band wieder ein wenig aufflammen. Er bleibt dabei jedoch immer ganz bei sich selbst und der eigenen Deutung (Anspieltipp: "XV").

Auch die ruhigeren Momente funktionieren hervorragend. Wie ein Fährmann nimmt der Amerikaner seine Hörer etwa auf "XI" und "XII" mit auf einen ruhigen Fluss, bis diese schlussendlich in der sanften Psychedelik des Sechssaiters bewusstseinserweiternd dahin schweben. Musik als klingender Kokon für Herz und Seele.

Kritikpunkte gibt es folglich nur auf höchstem Niveau. Nicht alle der 20 Stücke haben die gleiche Strahlkraft. Vor allem die zweite Hälfte der ersten CD wartet mit zwei Stücken auf ("VI", "VII"), die für die gesamte Dramaturgie der Platte unwichtig bis überflüssig sind. Solch kleinen Stolpersteine kratzen am Gesamtbild. "No End" erreicht damit nicht ganz die pointierte Klasse seiner legendären Pianokonzerte. Wer ausschließlich auf den Stil von Jarretts Meisterwerken wie "Solo Concerts Bremen/Lausanne" oder den ewigen Meilenstein "The Köln Concert" schwört, sollte vorher ausführlich reinhören. Für alle anderen gilt: Fallen lassen bis der Arzt kommt.

Ulf Kubanke - laut.de



Keith Jarrett‘s double-CD album, No End, will not appeal to all his fans. The music, recorded in 1986 but not issued until late 2013, was taped in Jarrett’s home studio in New Jersey. Essentially, it shows Jarrett messing about, vamping as a one-man-band on twenty, wide-ranging instrumentals (that extend from three to seven minutes in length) which skip from funk riffs to jazz-rock, from world music elements to experimental slices.

Unlike most of Jarrett’s releases on the ECM label, No End is not a pristine accomplishment; this is a lo-fi, DIY effort: don’t listen to this expecting high-end audiophile sound. The music was taped on two 2-track Tandberg cassette recorders, utilizing overdubs, and then bounced from machine to machine. Every piece has tape hiss (although noticeable it does not get in the way), and the mixing levels were done on-the-fly by Jarrett, so there are instances when some instruments are not perfectly balanced. Jarrett did all of the engineering, using a small mixing board, and adding minor reverb. Otherwise, the music exists as it was created in an impromptu approach: flaws and all. Also, Jarrett notes this music should be played loud, “since many inner details will be lost at lower volume.”

Musically, Jarrett performs on several instruments, primarily his red Gibson electric guitar, plus a Fender bass guitar, a drum kit, a plethora of percussive instruments (notably tablas, but also shakers, cow bell and others), a recorder, and only occasional acoustic piano. Jarrett also employs chanting and wordless vocals, as an undercurrent. Most tracks emphasize guitar and percussion and are based on rhythmic developments, rather than standard melodies or harmonic motifs. Jarrett explains in his concise and informative liner notes there was no forethought or pre-conceived design: material was often centered on a simple rhythmic idea, a bass line, or an improvised melody.

While Jarrett has a certain command of his amped, six-string instrument, he is nowhere near a virtuoso as he is on keyboards: he displays solid intent for the unrehearsed moments, but there is no finesse. The first CD, with ten tunes which equal 46 minutes, opens with a long excursion where Jarrett maintains a droning style, with tribal percussion riding below. Funk rears up on “II,” where drums and bass craft a contoured, beat-driven vamp. Two overlapping guitars mesh to create zigzagging lines, sometimes bending against each other. There is a minimalist, Grateful Dead/krautrock feel during “III,” where Jarrett presents a repeating groove via tablas and other percussion items, while he layers nonverbal vocalizations under a blues-guitar riff. This cut might easily have graced early LPs by the German group Can. Jarrett veers direction on “V,” which has a smooth, Caribbean flavor with a straightforward 4/4 time signature. It is far from essential listening, but an intriguing variation. Bass becomes more primary on “VII,” a slab of jazz-funk which has more of a 1976 sensibility than 1986: fortunately, it is not as stilted and rigid as other music released in the same genre. Jarrett finally uses acoustic piano on the lightly experimental “X,” although the keyboard is overshadowed by his guitar chords and hand percussion.

The second CD (also ten tracks and 46 minutes) follows a similar pathway. The moody “XII” has a melancholy melody, with slight washes from drum cymbals laid beneath one of Jarrett’s best guitar solos, and complimentary bass lines which prove he’s no slouch on electric bass. This number could undoubtedly be resurrected and transformed into something quite excellent. He takes a comparable course through the somewhat rougher “XV,” marred a bit by Jarrett’s jam-like guitar noodling (perhaps too close to Jerry Garcia than necessary). “XIII” is the hardest-hitting track. Jarrett provides a thumping bass and cutting guitar passages, with propelling tom-toms, tablas and cowbell as a fitting foundation. Jarrett turns back to an exploratory edge on “XIV,” which prisms with curved harmonics, and evokes James “Blood” Ulmer. The rest of the second CD does not stray far from what Jarrett fashions on the first CD: some pieces seem undeveloped; others reveal Jarrett’s ability to shape sincere music as he adheres to his notions of freedom and invention.

Doug Simpson - February 11, 2014
Copyright © Audiophile Audition



This disc, recorded in Keith Jarrett’s home studio back in 1986, is something of a curiosity. To begin with, there is a Producer’s note which advises the listener to play the music at high volume in order to hear subtleties in the playing which may otherwise be missed. Secondly, although the piano features, it is only very briefly. The instruments involved (see above) are otherwise not usually associated with one of the giants of modern jazz piano. In the sleeve-note, Jarrett professes a long attachment to the drums and electric guitar in particular, but is self-effacing about his talents. (There’s a nice story about Stan Getz who was apparently impressed by Jarrett’s guitar playing, heard while Jarrett was sitting in with a jazz trio. Not knowing who the guitarist was, he offered him a tour with his own group. Jarrett comments ‘That must have been a rare good solo for me’.) I have an idea, too, that the title of the album, No End, is an oblique reference to the suddenness with which many of the tracks conclude, at times in what seems to be an arbitrary way. Keith himself describes it in this way: ‘Beginnings and endings were either hit-or-miss or just plain astoundingly intuitive’. What we’re talking about, then, is extemporisation rather than formal composition - not unknown for Jarrett ! In addition, of course, this is Jarrett playing a number of instruments and recorded as if he were a group.

The range of styles and genres evident here, especially on guitar, is fascinating. Eastern, Hawaiian, rock-influenced, Latin-tinged, all are here at various points. Of the tracks I warmed to, V on CD1 makes for pleasant listening with Jarrett’s trademark background vocals (noises?) apparent. VI, though meandering is also very listenable. On track X, there is some piano, at last, albeit briefly, but a richer, fuller group sound with one of the better guitar contributions. Track XII on CD2 is altogether more melodic than most others on the disc and features a recognisable theme, good interaction between Fender bass and guitar as well as being one of the longer tracks at just over six minutes.

There are other tracks which make rewarding listening (track XI has some relaxed guitar improvisation and track XV contains quietly impassioned guitar). All in all, though, there’s insufficient variety when spread across two discs. I suspect that Jarrett completists will want this album and that curiosity may draw others to give it a try, but that there won’t be a large market for it, despite Keith Jarrett’s enduring appeal and his musical virtuosity.

James Poore - www.musicweb-international.com
 

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