Jarrett Keith, *8 May 1945 Allentown (Pennsylvania), American pianist and jazz composer. He also plays the vibraphone, various wind instruments (mainly the alto saxophone) and percussion instruments. He studied music for only one year at the Berklee School of Music in Boston; he began playing the piano at the age of three. He made his debut in 1952 and has been performing professionally since 1960; he began his jazz career in 1965, collaborating with Art Blakey ant the Jazz Messengers and saxophonist Roland Kirk. In 1966, he became a member of Charles Lloyd’s quartet, with whom he performed in Poland at the Jazz Jamboree in 1967. In 1969, he formed his own trio with Charlie Haden (double bass) and Paul Motian (drums), and in 1970 he played in Miles Davis’ band. In 1971, he reactivated his trio, which expanded into a quartet in 1972 (Dewey Redman, alto and soprano saxophone). At the same time, he performed and recorded more and more often as a soloist, focusing on the acoustic piano and rarely using organs and electric keyboard instruments. From 1973, after establishing a collaboration with the West German record label ECM (Edition of Contemporary Music), he undertook sound experiments, playing as a soloist, in duets (with Jack DeJohnette – drums, Kenny Wheeler – trumpet, and Jan Garbarek – saxophone), quartets and with a symphony orchestra. His pianist’s mastery is confirmed by the 1985 double album Spirits and Sun Bear Concerts Piano Solos (10 discs), documenting Jarrett’s solo tour of Japan in 1976.
Jarrett, a representative of the New York jazz avant-garde, is the most innovative pianist since Art Tatum. His music is not easy to classify. It shows exhibits both a leaning towards rock (recordings featuring electric guitar) and Eastern exoticism; elements of late neoclassicism and gospel funk are present, alongside European impressionism and ecstatic passages reminiscent of the “magic sessions” of La Monte Young and Terry Riley. Comparisons can also be drawn with Ornette Coleman, particularly in the treatment of the rhythm section. Above all, however, Jarrett’s music is distinguished by the spontaneity of solo improvisations. Jarrett himself cites the influences of Chopin, Liszt and Beethoven, but in terms of harmony, he is closest to Scriabin.
Somewhere Before, Foundations, Facing You, Solo Concerts, Belonging, Backhand, The Köln Concert, The Survivor’s Suite, My Song, Nude Ants, Changes, Standards, Bye Bye Blackbird, Keith Jarrett At The Blue Note, Tokyo ’96, Inside Out, Yesterdays, My Foolish Heart, The Carnegie Hall Concert, Last Dance, Somewhere, Munich 2016, Bordeaux Concert.
