keith jarrett trio standards transcription

That album contains all of the elements that would eventually become the Standards Trio, although the compositions, by Peacock, are typically lyrical and introspective. His work with Jarrett and DeJohnette on his 1977 ECM release Tales of Another may well have led to the eventual formation of Keith Jarrett’s Standards Trio six years later. From 1976 until 1983 he taught music theory at Cornish College of the Arts. He then gave up music for a period, studying Zen Buddhism in Japan until his return to the States in 1972. Peacock spent the early 1960s on the west coast playing with the likes of Bud Shank and Art Pepper before migrating to New York where he worked with Paul Bley, Bill Evans, and Albert Ayler. His link to Jarrett goes all the way back to the 1966-68 Charles Lloyd quartet. DeJohnette was best known for his work with Miles Davis and his own eclectic ECM recordings with many musicians, including John Abercrombie, David Murray, and Pat Metheney. Keith Jarrett Trio–Woody ‘n You-Tokyo, 1986įor that matter, neither were his partners in this venture, bassist Gary Peacock and drummer Jack DeJohnette. He simply was not known as an interpreter of the standard jazz catalog. He had never really played standard material much, not with Lloyd nor with Miles, and not with either of his quartets nor in his solo performances. His reputation as a composer and improviser easily equaled that of his reputation as a pianist. He also improvised organ works ( Hymns/Spheres), composed classically-oriented pieces ( The Celestial Hawk), and interpreted the sacred music of G.I. Keith Jarrett continued to work with the American quartet, formed the European quartet (Jan Garbarek, Jarrett, Palle Danielsson, Jon Christensen), and continued to release solo piano works such as The Koln Concert. 1973 saw the release of Solo Concerts Bremen/Lausanne, which cemented Jarrett’s popularity and his niche as an artist who gave solo performances at which he improvised new music at the piano out of thin air. That same year, he formed his ‘American’ quartet (Jarrett, Dewey Redman, Charlie Haden, Paul Motian) and released the solo piano recording Facing You.

He followed up with a duet recording with Jack DeJohnette, Ruta & Daitya, the last time he worked with electric keyboards. During 1971-71 he worked with Miles Davis on stage and on recordings, playing electric piano and organ. Jarrett first came to the public’s attention in 1966 as a member of Charles Lloyd’s quartet, of which he was a member through 1968. Keith Jarrett had accomplished many things in his career up to 1983, but he was certainly not known as an interpreter of the Great American Songbook. Not a radical concept, but certainly an unexpected one given the musicians involved. Specifically, the trio was planning on exploring the standard jazz repertoire composed by the likes of George Gershwin, Richard Rodgers, Cole Porter and other songwriters of equal status.

Back in 1983, three musicians assembled at New York’s Power Station studio to record some jazz piano trio sides.

Keith jarrett trio standards transcription