FunkFreak75 Recorded in for ECM Records on April 24 & 25 of 1974, this was Keith Jarrett's first collaboration with this European quartet--an ensemble that became known as "The Belonging Quartet" due to this album's title and which whom he would collaborate with some frequency over the next 20 years. The album included all Jarrett compositions recorded by Manfred Eicher in single takes (Keith was adamant about not doing multiple takes of any songs--and minimal rehearsal--and, apparently, quite a stickler for his "rules.")

A1. "Spiral Dance" (4:08) the drum and piano intro is okay (reminding me a lot of Jay Beckenstein's SPYRO GYRA) but then when Jan Garbarek's sax(es) join in and Palle Danielsson lets loose it really pops and swings. When Jan is leading the melody-making the music definitely feels more J-R Fusionen, but when it's just the piano trio it feels more like basic, standard jazz. (8.875/10)

A2. "Blossom" (12:18) a solo piano intro is joined at the end of the first minute by "Aud Lange Syne" sax play and spacious bass and brushed drums (mostly snare and cymbals), still, it's kind of cool how Jan plays within and outside of (but definitely connected to) Keith's improvisational piano playing. Again, I find myself reminded over and over of a Christmas song: like Nat King Cole's "Christmas Song." A little too close for comfort, despite the improvisational weaving. Also a lot of VINCE GUARALDI-like style and note-choosing from Keith. I can see why people credit Keith as being an heir to the great Bill Evans (even though Bill was still alive during the decade this album was made). But then, as with the previous song, the Jarrett soloing (and withdrawal of Jan's saxes) yields a far more standard jazz palette and less of an experimental Fusion feel. In the ninth minute there is a lovely "conversation" between Keith and Palle: these guys really are connecting--all of them--though Jon's play on the kit is pure support. As a song, something that I enjoy, this is great. As a display of leading-edge J-R Fuse it is rather poor--which makes it quite the challenge to rate. Keith Jarrett's hypnotic mastery of his instrument certainly makes it special. (22.375/25)

A3. "'Long As You Know You're Living Yours" (6:11) some gospel-sounding blues that's here given a full band treatment. When Jan Garbarek joins in with his saxophone in the second minute I am immediately taken into the world of 1970s (early) DAVID SANBORN. Though David made some great, even iconic songs ("The Chicago Song" to be sure) that sonorous almost whiny and "dirty" distorted sound that he introduced to the world on Todd Rundgren's Initiation album has never really sat well with me--in fact, may even have contributed to my dislike (or helped me to realize that I had no love) for the saxophone. (8.5/10)

B1. "Belonging" (2:12) a piano piece that seems to borrow, both melodically and harmonically, from other famous song riffs (that I'm unable to pinpoint at the moment). (4.375/5)

B2. "The Windup" (8:26) more joyful, upbeat, regionally-inspired (New Orleans?) piano-based music that conjures up the music of modern day spiritual savant, JON BATISTE. Despite the rollicking happy feel, this feels more jazzy than fusion; perhaps the closest instrument to infusing rock, folk, or world styles would be the drumming of Jon Christensen. His work here is also extraordinary. I mean, all of the performances here are virtuosic, but, for me, Christensen's drumming really stands out. (17.5/20)

B3. "Solstice" (13:15) contemplative piano and bass are soon joined by a-little-more-sonorous sax and brilliantly-reactive piano. Everybody is pretty much improvising (Jon merely doing occasional brush or cymbal work in the background) but Keith Jarrett's ability to play off of the others--especially Jan's saxophone--is quite extraordinary. (This may be my first instance of truly appreciating and understanding the near-universal acclaim and adulation Mr. Jarrett has always garnered from critics.) I can only imagine how the others--despite each of their own virtuosity--must, at times, get lost in Keith's genius--even cower in the light of his almost-superhuman powers. It's songs like these that always serve to diminish my esteem for the instruments that are restricted to single expression (like, here, Jan's saxophone). Though I've often found myself marveling at Jan Garbarek's saxophone playing (especially for the companions he selects to collaborate with), this is one of those songs that just makes me feel, "He's just a saxophone player." Also becoming obvious to me as I listen to this song is how much Keith Jarrett's playing style must have influenced that of Pat Metheny's primary collaborator: Lyle Mays. While I don't love this song (it is not one of those songs that I'm going to play because of the emotional response it evokes in me; if I did choose to play it, it would be more for the intellectual interest and experience) I appreciate the genius on display through it. (27/30) Total time: 56:30

B/four stars; an excellent jazz album of from four virtuosic musicians.

snobb "Belonging" is the first Keith Jarrett recording on ECM with Jan Garbarek and his rhythm section (often known as Jarrett's European quartet). Compared to Jarrett's American quartet, the music here is less experimental and adventurous and the whole sound is influenced by Garbarek's Nordic folk.

The obvious project leader is Jarrett for sure. His playful piano improvs are the central sound of the album's music and the most attractive element. Garbarek's sax sounds far from his experimental works of the early 70s and shows his growing trend to melodic simplified tunes influenced by folklore and with only occasional interesting improvs. He has enough space on this album, but compared to Jarrett's piano, which is very jazzy in an American manner, Garbarek's musicianship adds more simplified feeling to the sound.

The rhythm section is competent, but as in cases with previous Garbarek releases, they are a great supporting team and hardly more. Musically the album varies from post-bop with serious Jarrett classical influences to a more polished mix of third stream and Nordic folk, but in all cases, the sound is well rounded, emotionally cool and only Jarrett's great piano playing makes it alive.

A borderline album in many senses: after its release Jarrett will continue working for ECM recording a few more albums with the European quartet. Garbarek will develop similar musical direction on his later albums, but without Jarrett's jazz roots, Garbarek's music very soon will be transformed into cold background contemporary jazz/world fusion close to new age. The sound presented on this album (as well as many similar releases of the mid to late 70s) will evolve to post-bop rooted, but comfortably-polished melodic contemporary jazz of the 90s.

js Throughout his lengthy career, Keith Jarrett has been one of the most important pianists of our time, but there was something different about his youthful playing that you don’t hear as much over the years. Before the Koln concert, the classical performances and the association with the somber 80s ECM sound, Jarrett’s playing was a lot funkier and bluesy soulful with plenty of gospel and roots country riffs to go around for everyone. Its from this earlier phase of his career that we get the loose, experimental and mostly high energy live concert known as “Fort Yawuh”. Joining Keith on this concert is his very talented, ‘American Quartet”, with Dewey Redman on tenor, Charlie Haden on bass and Paul Motian on drums. Part-time member, Danny Johnson, joins on percussion.

The album starts with the free post bop of “If the Misfits (Wear It)”, which opens with what sounds like the musicians imitating a North African field recording before going into high speed free-bop mode. Keith’s piano runs are both lightning fast and harmonically interesting at the same time. Dewey follows him with a strong tenor solo that shows the Coltrane and John Gilmore influences of the time. The album title track follows, and features the piano trio in free mode, but when they kick into an African rock groove, Redman joins with a Chinese musette solo that works really well with this sort of non-western rhythm. Side two kicks off with the gospel groove of “De Drums”, halfway through the track the rhythm picks up the tempo as Redman leads the band in a high energy soul jazz romp. Album closer “Still Life, Still Life”, is a ballad, but during Jarrett’s opening solo improv, he takes the tune into some very complex twisting turning twelve tone treatments.

The salient features on this album are enthusiastic energy and an open mind towards any possible musical influence. This group pulls from all the various musical influences described above, yet all those influences come together to make one sound and nothing sounds contrived or unnatural. There is a real joy at work in this album that is rare to come by.

Steve Wyzard "We will never forget Miles."

Miles Davis died on September 28, 1991. The Keith Jarrett Trio rushed into the studio on October 12, 1991 and recorded this tribute album. As Miles Davis tribute albums go, it's really very good. The potential purchaser is advised that this album ranks rather high on the infamous Keith Jarrett vocalization spectrum. If you're a long time Jarrett listener and familiar with his singing, you should have no problem enjoying the album.

Among the highlights are "For Miles", an 18:39 improvisation with an utterly amazing Jack DeJohnette percussion performance, and one of the best ballads this group has ever done, "You Won't Forget Me". After 10:42 of awe-inspiring poignancy, however, a major sequencing mistake is made by following this up with the hard-driving "Butch and Butch": the juxtaposition of the two is simply too harsh. Other than this, I have no further complaints and can highly recommend this album to fans of the performers. Special accolades must go to the aforementioned DeJohnette, as this is one of his best as part of this trio.

Amilisom I came to listen to this album as a result of many sources regarding it as being Keith Jarrett's best. What I expected to hear at the time was Keith Jarrett playing a form of bop with a trio or quartet of some kind, which is generally what you find if you search for Keith Jarrett on Youtube.

Instead, as I began the 15-min first track "Runes" I discovered that this entirely wasn't the case at all. This album doesn't even have a drummer, but instead has a string orchestra accompanying Jarrett on piano, Haden on bass, and Jan Garbarek on saxophone. The three rarely ever play at the same time. Instead, there will be stretches of time where Charlie Haden will begin soloing with the string orchestra with Jarrett either playing very sparse or not at all. This changes with the second half of "Solara March", when the three members start a groove and improvise over it with the string orchestra still giving backgrounds. "Mirrors" is similar to "Runes" but with a more complex string arrangement at times.

As a result, most of the music in this album is very free, spacious, and beautiful. Although it may draw influences from pop piano music, the spirit of improvisation is still very much existent here.