Two of vibraphonist Gary Burton's albums from 1969-1970 are reissued in full on this single CD. Burton teams up with pianist Keith Jarrett for five numbers (including four of Jarrett's originals) in 1970, using a quintet that also features guitarist Sam Brown, bassist Steve Swallow, and drummer Bill Goodwin. The other session has more of an avant-country flavor, with Burton, Swallow, and Goodwin joined by guitarist Jerry Hahn and violinist Richard Greene; Michael Gibbs and Swallow contributed most of the obscurities. Burton was at his most explorative during this period, which is why he can be considered one of the pioneers of fusion (although his music never really fit into a tight category). This is excellent music that mostly still sounds fresh.
Pianist, composer, and bandleader Keith Jarrett is one of the most prolific, innovative, and iconoclastic musicians to emerge from the late 20th century. As a pianist (though that is by no means the only instrument he plays) he literally changed the conversation in jazz by introducing an entirely new aesthetic regarding solo improvisation in concert. Though capable of playing in a wide variety of styles, Jarrett is deeply grounded in the jazz tradition.
Here we have simplicity itself: a series of piano transcriptions of some solemn, now-dark, now-affirmative religious hymns by one G.I. Gurdjieff, with none of the usual flourishes and heady flights usually associated with Keith Jarrett's solo records. Jarrett assumes the proper devotional position, playing with a steady tread but always with attention to dynamic extremes, producing a gorgeously rich piano tone with plenty of bass. The whole record has a serene dignity, even at its loudest levels, that gets to you, and that should be enough for the devout Jarrett following. As for others…well, it's definitely not a top ten choice for a basic Keith collection.
Keith Jarrett's first solo acoustic piano recording remains one of his best. At this point in late 1971, Jarrett had just started improvising completely freely. That does not mean that his solos were necessarily atonal but simply that they were not planned in any way in advance. The music on these eight improvisations are often quite melodic, very rhythmic and bluesy. This set makes for a perfect introduction to Jarrett's many solo piano recordings.
“The Bregenz/Munich concerts were Jarrett’s most brilliant live solo recordings to date; his level of inspiration is quite extraordinary, and the music covers a wider musical and emotional range than ever.” – Jarrett biographer Ian Carr
Recorded at his home studio in 1986, the double album No End illuminates hitherto undocumented aspects of Keith Jarrett's music. He is heard on electric guitars, electric bass, drums and percussion, overdubbing tribal dances of his own devising: "Somehow something happened during these days in the 80s that won't ever be repeated," he writes in his liner notes. "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. None of this was written down."