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.
Jarrett brings to his Mozart repertoire steadiness of interpretation and relaxation that may surprise listeners who know him mainly for the adventurousness and quirks of his celebrated marathon solo recordings. A jazz pianist performing classical music might be expected to take rubato liberties. Jarrett does not. His reading of the magnificent pre-Romantic D-minor concerto No. 20, K. 466, employs effective dynamics without extremes in the direction of Arthur Rubenstein's daring and exuberance in the rondo, Mitsuko Uchida's mystique behind the beat in the romance movement or Clara Haskil's blurred articulation at the piano entry in the allegro.
Splitting his time between the electric and acoustic pianos and a bit of organ, Jarrett teams up with drummer/percussionist Jack DeJohnette in a series of experimental duets, his only electric session for ECM. The all-acoustic title number ranges all over the lot, from tootling on a bamboo (?) flute to the energizing barrelhouse gospel riffs that would bloom in the solo concerts.
Keith Jarrett's numerous volumes of improvised solo piano recordings are all treasure troves of spontaneous music making. Documented since the 1970s, they reveal the opening of his music as it readily embraces classical and sacred music influences, filters out what is unnecessary in his technique, and encounters the depth and breadth of the jazz tradition and his own unique abilities as a composer. The four discs in A Multitude of Angels were recorded in as many Italian cities during the last week of October 1996 – some 20 months after the concert captured on La Scala.