This is the Keith Jarrett Trio's – featuring bassist Gary Peacock and drummer Jack DeJohnette – elegy for their former employer Miles Davis, recorded only 13 days after the maestro's death. The lonely figure in shadow with a horn on the cover contrasts with the joyous spirit of many of the tracks on this CD, yet there is still a ghostly presence to deal with – and in keeping with Miles' credo, Jarrett's choice of notes is often more purposefully spare than usual. There is symmetry in the organization of the album, with "Bye Bye Blackbird" opening and the trio's equally jaunty "Blackbird, Bye Bye" closing the album, and the interior tracks immediately following the former and preceding the latter are "You Won't Forget Me" and "I Thought About You." The centerpiece of the CD is an 18-and-a-half-minute group improvisation, "For Miles," which after some DeJohnette tumbling around becomes a dirge sometimes reminiscent of Miles' own elegy for Duke Ellington, "He Loved Him Madly." As an immediate response to a traumatic event, Jarrett and his colleagues strike the right emotional balance to create one of their more meaningful albums.

Closeness (Duets) is a spectacularly intimate, historically monumental, and masterfully synchronized avant-garde jazz masterpiece by the legendary American double bassist and composer Charlie Haden, originally recorded and released in 1976 and preserved on compact disc via the premier archival imprint A&M Records. Spanning 39 minutes across 4 expansive, deeply spiritual instrumental interactions, this high-fidelity document stands as a landmark monument to the art of the jazz duet. Bringing together four of the most visionary giants of twentieth-century creative music—pianist Keith Jarrett, alto saxophonist Ornette Coleman, harpist Alice Coltrane, and percussionist Paul Motian—Haden structures an intense, deeply personal audio architecture that strips away standard rhythm section conventions to explore pure melodic communication, political statement, and raw emotional vulnerability.

Tales of… Gary Peacock is a spectacularly comprehensive, deeply exploratory, and historically monumental avant-garde and acoustic jazz anthology masterfully chronicling the legendary career of American double bass titan Gary Peacock, released in 2006 by the esteemed Italian publication and label Musica Jazz. Spanning over 72 minutes across 12 brilliantly selected tracks, this high-fidelity archive showcases Peacock's unmatched harmonic fluidity, deep resonant tone, and historic mastery of both structured post-bop swing and untethered free jazz improvisation. Serving as a breathtaking historical document, the collection brings together an absolute powerhouse vanguard of international jazz royalty, capturing Peacock across various decades in dialogue with his most iconic collaborators. Listeners are treated to interactions with a legendary piano matrix featuring Keith Jarrett, Paul Bley, and Marilyn Crispell, alongside a shifting percussion engine helmed by master drummers Jack DeJohnette, Paul Motian, and Tony Oxley. From the soaring European chamber jazz textures of saxophonists Jan Garbarek and John Surman to the avant-garde vocal presence of Annette Peacock and the crystalline acoustic guitar lines of Ralph Towner, every track represents a historic masterclass. Exceptionally preserved in pristine dual-format lossless and high-bitrate audio with full retail scans, this essential compilation stands as an absolute mandatory cornerstone and a prized collector's holy grail for global purists of modern acoustic bass artistry, ECM-era avant-garde, and progressive jazz history.

Restoration Ruin is a real oddity in the Jarrett catalog: a vocal album on which he plays all the instruments. And not a jazz vocal album, either, but a folk-rock one in which he alternates - quite literally, track to track - between sub-Dylan outings and more folk-Baroque ones that echo the late-'60s work of artists like Love and Tim Buckley. There's a certain amateurish appeal to the LP, in keeping with other crossover acid folk artists of the period. Yet the fact is that Jarrett is a major jazz musician, but a journeyman-at-best folk-rock singer (with a hoarse, wavering croon-whine), instrumentalist, and songwriter, with a bent for flaky wordplay that gives this a bit of a fried-psychedelic tinge. At times, to be harsh, it's less than journeyman, particularly on the Dylan-esque cuts, which have almost embarrassing wheezing son-of-Dylan harmonica and some downright embarrassing out-of-sync drums…

Captured live at Tokyo’s Suntory Hall, renowned piano virtuoso Keith Jarrett performs some of his most memorable and haunting standards before an enthusiastic crowd. Performed entirely solo, these numbers clearly reveal the breadth and power of his immense musical skills. Recorded live at Suntory Hall, Tokyo on April 14, 1987.

This compilation is 3 plus hours of stuff (42 tracks), and all in good quality, chosen from his ECM career back to the mid-70s. I would call it the "highly accessible Jarrett" as it does not include any of the thorniest stuff from the solo concerts. It's mostly the Trio, the European quartet, and some encore "blues" excerpts from the solo concerts.

This was the first real indication to the world that Keith Jarrett was an ambitious, multi-talented threat to be reckoned with, an explosion of polystylistic music that sprawled over two LPs (now squeezed onto a single CD). Using his classic quartet (Dewey Redman, Charlie Haden, Paul Motian) as a base, Jarrett occasionally adds the biting rock-edged electric guitar of Sam Brown and always-intriguing percussionist Airto Moreira, and indulges in some pleasant string and brass arrangements of his own, along with some grinding organ smears and acceptable soprano sax. Jarrett again turns his early rampant eclecticism loose - from earthy gospel-tinged soul-jazz to the freewheeling atonal avant-garde - yet this time he does it with an exuberance and expansiveness that puts his previous solo work in the shade…

Mysteries: The Impulse Years 1975-1976 is a four CD collection of the Keith Jarrett albums Mysteries, Shades, Byablue and Bop-Be. The set was released in 1996 by Impulse! Records and in 1997 by Aris / MCA. Previously unreleased alternate takes are present on each disc. The music was performed by Jarrett and his affectionately-titled 'American Quartet', composed of Charlie Haden, Paul Motian, and Dewey Redman. Guilherme Franco contributed additional percussion to Mysteries and Shades.

“These are performances in which tempos, phrasing, articulation and the execution of ornaments are convincing,” wrote Gramophone of Jarrett’s first recorded account of The Well-Tempered Clavier. “Both instrument and performer serve as unobtrusive media through which the music emerges without enhancement.” In this live recording from Troy, New York, made in March 1987, just one month after his studio recording of the work, Keith Jarrett addresses the challenges of Bach’s great set of preludes and fugues once more. Part of the goal is transparency, to bring the listener closer to the composer. As Jarrett explained at the time: “The very direction of the lines, the moving lines of notes, are inherently expressive…When I play Bach, I hear almost the process of thought. Any colouration has nothing to do with this process.“

The songbook craze wheels around to the compositions of Keith Jarrett, which ought to be an oxymoron since we're dealing with an artist who usually makes up things on the wing. Yet it works, for not only does this package isolate and spotlight some nice tunes by the prolific pianist; it also honors his eclectic bent by roaming all over the spectrum in search of diverse idioms. Bruce Hornsby is delightfully funky on piano in a second-line New Orleans treatment of "Backhand," which goes through some riotous passages. Pianist Chucho Valdes bumps through "U Dance" with the unorthodox help of baritone saxophonist Jay Rodriguez, while guitarist John Scofield is relaxed as he meanders through "Coral.".

The Charles Lloyd Quartet was (along with Cannonball Adderley's band) the most popular group in jazz during the latter half of the 1960s. Lloyd somehow managed this feat without watering down his music or adopting a pop repertoire. A measure of the band's popularity is that Lloyd and his sidemen (pianist Keith Jarrett, bassist Ron McClure and drummer Jack DeJohnette) were able to have a very successful tour of the Soviet Union during a period when jazz was still being discouraged by the communists. This well-received festival appearance has four lengthy performances including an 18-minute version of "Sweet Georgia Bright" and Lloyd (who has always had a soft-toned Coltrane influenced tenor style and a more distinctive voice on flute) is in top form.

Recognised as one of the most accomplished musicians of his generation, Carsten Dahl pays a mesmerising tribute to the legendary Keith Jarrett on 'The Solo Songs of Keith Jarrett'.

Ruta and Daitya is jazz album by pianist Keith Jarrett and drummer Jack DeJohnette, recorded in May 1971 and released on ECM Records in 1973—one of Jarrett's rare performances on electric keyboard.

Released in a facsimile edition in ECM’s critically lauded Luminessence series, this vinyl triple album conveys the sound of history-in-the-making. Bremen-Lausanne documents two mesmerizing Keith Jarrett solo piano concerts from March and July 1973. These are concerts from the very beginning of Jarrett’s solo odyssey and they repay close listening today. In a shared booklet note Keith Jarrett and Manfred Eicher write, “We feel that this album is true to itself and the audience from every angle and that our care will provide us with more than equal benefits in our knowledge that we have given you the closest thing to being there.”

Even before his solo concerts became popular successes, Keith Jarrett was clearly getting a free hand from ECM founder Manfred Eicher, as this ambitious double album of classical compositions proves. In this compendium of eight works for all kinds of ensembles, the then-28-year old Jarrett adamantly refuses to be classified, flitting back and forth through the centuries from the baroque to contemporary dissonance, from exuberant counterpoint for brass quintet to homophonic writing for a string section.