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A very unusual record – one that has Keith Jarrett playing some solo organ – and a baroque organ at that – but in ways that are quite different than you might expect! The sounds here are amazing – almost noisy at points, as Jarrett really works the instrument in an exploration of textures and tones, less in a pursuit of melody – so what might initially look like one of Jarrett's neo-classical recordings is instead one of his most experimental – especially as the set moves on! "Hymn Of Remembrance" initiates the album – with a slightly sentimental quality – but Keith then shifts into his nine-part "Spheres" suite – which is full of amazing textures and sounds! And unlike the previous CD version, this one includes all the material on the original 2LP set!

A heady double-length set from Keith Jarrett – some of his more sharper-edged work of the time, even though the session follows the free-flowing solo aproach of his other ECM recordings! The first half of the set features the extended "Invocations" suite – a work that has Jarrett working moodily on a combination of pipe organ and soprano sax – the former of which is used with plenty of dark tones and odd notes, making for a surprisingly great combination with the sax! "The Moth & The Flame" suite follows on the second disc – featuring Jarrett on more familiar piano (and a wide-bodied Steinway at that), soaring out on some warmer, more lyrical lines.

Dark and moody work from Keith Jarrett – a record that builds strongly off his ensemble feeling of the Impulse years, but which also seems to carry a bit more of the introspective vibe he was building up in some of his more stripped down solo recordings! The group's still a great one here – with Dewey Redman on reeds, Charlie Haden on bass, Paul Motian on drums, and Guilhermo Franco on percussion – and the tunes, although long and somewhat free, still show Jarrett's great ear for a lyrical melody – carried off wonderfully without cliche, and still with more sharp edges than you might expect. Titles include "Rotation", "Everything That Lives Laments", "Flame", and "Mysteries".

After the success of Jarrett's Standards Trio recording, he revisits the format with Gary Peacock and Jack DeJohnette – the first ever live recordings of this incredible trio in action! Like the studio recordings, this set features roomy, lyrical readings of standards, in a way, reminiscent of classic Bill Evans approaches to similar material – with a relaxed, moody spin on the proceedings. The tried-and-true material is given fresh life by the players, who roll from a looser dynamic with each player having their moments, to some tighter interplay in the heart of the tunes – and the appreciative French audience helping with the mood! 6 numbers: "Stella By Starlight", "The Wrong Blues", "Falling In Love With Love", "To Young To Go Steady", "The Way You Look tonight" and "The Old Country".

Pretty trippy stuff – duets between Jarrett and DeJohnette, in a variety of modes that run from out and improvised, to mellower and modal. Jarrett plays piano, electric piano, organ, and flute – and DeJohnette plays a variety of percussion. Titles include "Ruta & Daitya", "Sounds Of Peru", "Pastel Morning", "You Know You Know", and "All We Got".

A rare slice of ECM Records from the 70s – a previously-unreleased live performance – featuring some of the label's most influential talents of the time! The core energy here comes from the piano of Keith Jarrett and reeds of Jan Garbarek – both musicians whose instruments shaped the sound of the label, and of jazz in general, during this crucial decade in modern music – aided here by Palle Danielsson on bass and Jon Christensen on drums – players with a keen ear for the sorts of rhythms needed to really make the music flow! Tracks are quite long, and in some of the best spirit of Jarrett's work with reeds – yet also warmer than his music with Dewey Redman at the time. Really beautiful throughout – with tracks that include "Personal Mountains", "Innocence", "Chant Of The Soil", "New Dance", "Oasis", "So Tender", and "Prism".

A wonderful illustration of the inherent sense of beauty in Keith Jarrett's early work – an approach to piano that was simple, straightforward, and marked by a ringing sense of tone that's evident in the very first note of the set! Jarrett here isn't trying to break any rules in jazz piano, nor is he trying to go out of his way to make the world known of his presence – and instead, he's got a simple, subtle approach to the keys that's filled with tenderness and gentle tones – but not in a way that's hokey or overly sentimental. There's certainly echoes here of 60s work by Steve Kuhn, and of earlier records by Vince Guaraldi – but Jarrett also hints at a bold power underneath that seems likely to break out at every turn. The album's a live recording, with Charlie Haden on bass and Paul Motian on drums – and titles include "A Moment For Tears", "Pout's Over", "My Back Pages", "Pretty Ballad", "Moving Soon", "Old Rag", and "Dedicated To You".

Hip work from both players – and Jarrett plays electric piano and soprano sax too – in a group that also features Sam Brown on guitar, Steve Swallow on bass, and Bill Goodwin on drums. Titles include "Como En Vietnam", "Fortune Smiles", "The Raven Speaks", and "Grown Your Own".

A very unusual record – one that has Keith Jarrett playing some solo organ – and a baroque organ at that – but in ways that are quite different than you might expect! The sounds here are amazing – almost noisy at points, as Jarrett really works the instrument in an exploration of textures and tones, less in a pursuit of melody – so what might initially look like one of Jarrett's neo-classical recordings is instead one of his most experimental – especially as the set moves on! "Hymn Of Remembrance" initiates the album – with a slightly sentimental quality – but Keith then shifts into his nine-part "Spheres" suite – which is full of amazing textures and sounds!

Prime Keith Jarrett on Impulse Records – and a still-wonderful session that features work by Dewey Redman, Charlie Haden, and Paul Motian! The sound here is a bit more focused than on some of Jarrett's earlier Impulse sides – but still has that rich and organic sound overall – blending instruments from all players with a sound that's spontaneous and flowing. Jarrett himself plays a bit of percussion and wood flute – and Redman also plays maracas and musette! Tracks are long, and include "Kuum", "Inflight", "Vapallia", and "Backhand".

A great little trio session from Keith Jarrett – still in the mode of some of his other ECM work, but almost a bit more back to basics as well! The group here features Gary Peacock on bass and Jack DeJohnette on drums – both working beautifully with Keith in a flurry of colors, tones, and pulsating rhythms – the latter of which really drive along the two-part composition "Flying", which takes up most of the set. The shorter "Prism" completes the record – a number that's a bit more contemplative overall, and which features some of those beautifully rounded tones that were virtually Peacock's trademark at the time.

Jarrett's genre defining solo piano recording, one of what would become many, many documents of his improvised solo performances. While the music here is fully improvised, as nearly so as any music can be, it explores a more lyrical and contemplative side of improv than was the current approach to that sort of music at the time. Much maligned as well as lauded, this remains a watershed recording for improvised music in the 70s, and still sits well today. Divided into four sections, simply entitled "I", "IIa", "IIb" and "IIc".

Jarrett's genre defining solo piano recording, one of what would become many, many documents of his improvised solo performances. While the music here is fully improvised, as nearly so as any music can be, it explores a more lyrical and contemplative side of improv than was the current approach to that sort of music at the time. Much maligned as well as lauded, this remains a watershed recording for improvised music in the 70s, and still sits well today. The original recording was divided into four sections to accommodate issue as a double LP, simply entitled "I", "IIa", "IIb" and "IIc".

Rare solo material from pianist Leo Cuypers – a really wonderful set that gives us a chance to hear his talents in a completely unfettered setting! We know Cuypers best from some of his efforts in groups, and it's a great change to hear him here on his own – working through some amazing original compositions that are filled with life and feeling! At some points, he's got all the wit, energy, and sharp edges of contemporary Misha Mengelberg – but at other times, there's this lyrical cohesion to his music that almost reminds us of the most tuneful moments of Steve Kuhn or Keith Jarrett – an obvious great range of sounds to come from one player in such a small space – which makes the album possibly the greatest illustration of Cuyper's genius we've ever heard. Titles include "Lovely Rita", "Monk's Raus", "Het Cowboylied Van Ome Piet", "One Million Dollar Song", "Tristano Song", and "Lovely Rita". CD also features 3 long bonus tracks too!

With Gary Bartz, Keith Jarrett, Michael Henderson, Leon Ndugu Chancler, Don Alias, James Mtume Foreman, Jack DeJohnette, Jumma Santos and Airto Moreira. Recorded in Vienna November 5, 1971 and San Francisco, October 17, 1970. Titles include "Directions", "Honky Tonk", "What I Say", "The Sanctuary Theme", "Yesternow, Part 3" and "Funky Tonk".

Haunting work by the enigmatic Gurdjieff – pulled from lost wire and tape recordings, and beautifully remastered for the set! Gurdjieff was perhaps known best for his work as a mystic, philosopher, and spiritualist – but he also had an amazing approach to the harmonium, one that was informed by his theories on life and energy – and which brought some amazing sounds out of the instrument! The material was all recorded in 1949 – and has this elliptical, stretched-out quality that went on to influence a number of later keyboardists – including Keith Jarrett and others! Great silkscreened cover – and the LP features 7 improvised tracks in all.

Overseas excursions from the Charles Lloyd Quartet – a group who were already breaking down plenty of boundaries at home in the US! The lineup is a bit different than some of the other Lloyd sessions of the time, in that Cecil McBee is in the group on bass – adding in some wonderfully spiritual tones to a lineup that features Charles on tenor and flute, Keith Jarrett on piano, and Jack DeJohnette on drums – playing with those inventive rhythms that made his work a perfect fit for Lloyd's lines on the tenor! Titles include "Tagore", "Karma", "Little Anahid's Day", "Manhattan Carousel", "European Fantasy", and "Hej Da!".

Charles Lloyd in the Soviet Union – blowing beautifully on an open-ended set that must have really loosened things up in Red Square! The album features Lloyd at his freewheeling 60s best – working in his group with Keith Jarrett on piano, Ron McClure on bass, and Jack DeJohnette on drums – on some of those great long, very open numbers they do so well! Lloyd plays both tenor and flute – both with strongly spiritual tones that work great with the modal touches of the rhythm section – and titles include "Days & Nights Waiting", "Sweet Georgia Bright", "Love Song To A Baby", and "Tribal Dance".

A classic set from reedman Charles Lloyd – a set that really pushes forward all the experiments he'd begun in the Chico Hamilton group – and shows a bold move forward for rhythms in 60s jazz! The tracks are long, and spiral out wonderfully – but in ways that are different than those used by other creators of the time – like Eric Dolphy or John Coltrane. Even though leading the group on tenor and flute, Lloyd's got a real sense of rhythm to his playing – echoes of the Hamilton group – but set loose with a stellar quartet of younger players – including Keith Jarrett on piano, Cecil McBee on bass, and Jack DeJohnette on drums – all perfect choices for inventive music like this! The standout cut is the amazing "Sombrero Sam", a tight little groover that we never tire of – and one that has Jarrett sounding much more in the pocket than you'd ever imagine – and other tracks include "Dream Weaver", "Autumn Sequence", and "Bird Flight".

A great title for this one – as the set really features reedman Charles Lloyd flowering strongly – blooming into a richer expression of his talents than any one might have expected a few short years before! The album features Lloyd working with his groundbreaking quartet of Keith Jarrett on piano, Cecil McBee on bass, and Jack DeJohnette on drums – players who have a perfect rhythmic conception to take Charles to the place he wants to go with his reeds! Titles include "Speak Low", "Goin' To Memphis/Island Blues", "Gypsy 66", "Wilpan's", and "Love-In/Island Blues".

A great 60s moment not just for reedman Charles Lloyd, but also for pianist Keith Jarrett – who was a key part of Charles' group for a few years at the time – and who really opens up on this classic set! Tracks are long and very open – reaching in a spiritual sort of way with definite Coltrane overtones, yet also showing that more complexly rhythmic mode that made Lloyd a standout in previous groups before he was a leader – a quality that's really augmented by the presence of Jack DeJohnette on drums! Lloyd plays both tenor and flute – and Jarrett switches to soprano sax on one number! Titles include"Journey Within", "Love No 3", "Memphis Green" and "Lonesome Child".

A classic batch of modal grooves from Charles Lloyd – recorded during the height of his mind-expanding years, with his famous quartet that included Keith Jarrett on piano and Jack DeJohnette on drums! The tracks are long and magical, done with that spiritual spiraling sound that Lloyd was wowing the hippies with at the time – and considering that this set was recorded live at the Fillmore, there were an awful lot of hippies present to be wowed! But the set's also got a charm that lives long past its time – thanks to an expansive vision from Lloyd on flute and tenor, and from Jarrett on piano too. Titles include "Sunday Morning", "Love-in", "Tribal Dance", and "Temple Bells".

Music that really made the career of drummer Paul Motian – work that firmly established his power as a leader in the 70s, and showed the world that he had a huge range of music to offer beyond his initial fame with Bill Evans! Motian works here both on percussion and a standard drum kit – often in ways that intertwine rhythmic and melodic elements, in the freer structures that ECM helped unleash in the 70s – modes that often show a spiritual side to Paul's music that would have been unexpected a decade before – wrapped up in the company of some fresh young talents from the underground! Players on the dates include Keith Jarrett on piano, Leroy Jenkins on violin, Becky Friend on flute, Charles Brackeen on tenor and soprano sax, Joe Lovano on tenor, Bill Frisell on guitar, Billy Drewes on alto and tenor, David Izenzon and Charlie Haden on bass, and Sam Brown on guitar – and the 6 CD set features the full albums Conception Vessel, Tribute, Dance, Le Voyage, Psalm, and It Should've Happened A Long Time Ago.

Mindblowing work from one of the greatest Italian pianists of the 70s – the legendary Enrico Pieranunzi, a player who's almost more amazing here in a solo session than in a group! There's a fluid feel to the record right from the start – boundless energy and imagination from Pieranunzi's fingers on the keys – as he soars out with a richly lyrical mode that might be slightly comparable to Keith Jarrett's more freewheeling work of the time – but even more expansive overall, and usually taken at a clip that leaves us breathless! We're not often fans of 70s solo piano work, but this album is a key exception – a treasure throughout, with tracks that include "Terminal", "Space Time", "Flash", "A Long Way", and "My Song".

Stellar early 70s work from John Dankwork – in a 2CD set! Full Circle is simply one of the greatest albums we've ever heard from the Brit maestro – a big band album as in earlier years, but one done with lots of hip 70s touches! The feel here is halfway between that of sound library grooving and some of the larger group 70s sessions on MPS – often funky at times, but with freshly modern solo work that breaks out from the larger ensemble nicely to accentuate the mood of the tunes. Players include Alan Branscombe on vibes, John Taylor on piano, Joe Moretti on guitar, and Kenny Wheeler on trumpet – and tunes include Mike Vickers' "Eleven Plus", Mike Gibbs' "A Family Joy" and "Triple Portrait", Keith Jarrett's "Grow Your Own", and Dankworth's "Academy One" and "Earthman". Also features a nice bass-y take on "You Are Too Beautiful". Lifeline is another great one – also reminding us of some of the larger MPS projects of the same time. The tracks have a bit of an electric glow in the basswork and production, but the main focus is on acoustic big band grooving – with breakout solos, and some tighter ensemble passages. Includes the sweet suite "Lifeline", which has a few funky moments – plus"Tomorrow's World", "WRVR", and "Fighting The Flab". Players include Don Rendell, Tony Hymas, Ken Gibson, and Dankworth himself.

With Garbarek on tenor and soprano sax, Keith Jarrett on piano, Palle Danielsson on bass, and Jon Christensen on drums. Titles include "The Windup", "Belonging", "Solstice", "Spiral Dance", and "Blossom".

Donal Leace was one of a few hip soul acts that Roberta Flack brought to Atlantic during her strongest period with the label – and he's a soulful folk singer whose work reminds us of certain folksy moments on Flack's first few albums. There's less of a Terry Callier sound than a Tim Hardin one – and the backing is filled with jazzy inflections laid down by players like Keith Jarrett, David Spinozza, Ray Lucas, Bernard Purdie, and Ron Carter. Flack produced – and again, you can definitely hear her love of folk music on the LP. Titles include "Andrea", "Midnight Cowboy", "Shimaree", "Sad Lisa", "What Does It Take", and "Today Won't Come Again".

Overseas excursions from the Charles Lloyd Quartet – a group who were already breaking down plenty of boundaries at home in the US! The lineup is a bit different than some of the other Lloyd sessions of the time, in that Cecil McBee is in the group on bass – adding in some wonderfully spiritual tones to a lineup that features Charles on tenor and flute, Keith Jarrett on piano, and Jack DeJohnette on drums – playing with those inventive rhythms that made his work a perfect fit for Lloyd's lines on the tenor! Titles include "Tagore", "Karma", "Little Anahid's Day", "Manhattan Carousel", "European Fantasy", and "Hej Da!".

A famous album – but for good reason! The set's something of a landmark in spiritual jazz from the 60s – and it features a classic live performance from Charles Lloyd, recorded at the Monterey Jazz Festival – almost as a distillation and popularization of ideas that were brewing in the music of John Coltrane, Eric Dolphy, and others! The group here features a young Keith Jarrett on piano, Cecil McBee on bass, and Jack DeJohnette on drums – all flowing magnificently with Lloyd's work on tenor and flute – in an open-ended groove that draws on modal rhythms for inspiration, and which features solos that stretch out, but never go "outside"! The classic performances of "Forest Flower" takes up all of side one – with a dreamy drifting quality that has Jarrett at his best – and side two features a version of his "Sorcery", plus McBee's "Song Of Her", and a version of "East Of The Sun".

A great 60s moment not just for reedman Charles Lloyd, but also for pianist Keith Jarrett – who was a key part of Charles' group for a few years at the time – and who really opens up on this classic set! Tracks are long and very open – reaching in a spiritual sort of way with definite Coltrane overtones, yet also showing that more complexly rhythmic mode that made Lloyd a standout in previous groups before he was a leader – a quality that's really augmented by the presence of Jack DeJohnette on drums! Lloyd plays both tenor and flute – and Jarrett switches to soprano sax on one number! Titles include"Journey Within", "Love No 3", "Memphis Green" and "Lonesome Child".

A classic batch of modal grooves from Charles Lloyd – recorded during the height of his mind-expanding years, with his famous quartet that included Keith Jarrett on piano and Jack DeJohnette on drums! The tracks are long and magical, done with that spiritual spiraling sound that Lloyd was wowing the hippies with at the time – and considering that this set was recorded live at the Fillmore, there were an awful lot of hippies present to be wowed! But the set's also got a charm that lives long past its time – thanks to an expansive vision from Lloyd on flute and tenor, and from Jarrett on piano too. Titles include "Sunday Morning", "Love-in", "Tribal Dance", and "Temple Bells".

One of the hippest gospel albums recorded by Atlantic – and in many ways, more of a secular set than other sides by Marion Williams. The album was co-produced by Roberta Flack, and features a core group of players that includes David Spinozza on guitar, Keith Jarrett or Ray Bryant on piano, and Paul Griffin on organ – plus backings by the Dixie Hummingbirds on a number of tracks. The sound is a mixture of southern soul and urban rootsy – with a few numbers arranged by Flack, and a mixture of secular and spiritual tunes that includes "My Sweet Lord", "He Ain't Heavy", "Turn Turn Turn", "This Generation Shall Not Pass", "Heaven Help Us All", "Make Peace With Yourself", and "Danger Zone".

An excellent live outing from pianist Denny Zeitlin – recorded at the height of his early powers! The session's got a fresly new conception to piano-based jazz – a style that resonates nicely with the best 60s work of Steve Kuhn or Keith Jarrett, sharing some of the tenderness of the former and the sense of color of the latter. Rhythm is from the team of Charlie Haden on bass and Jerry Granelli on drums – and Haden's bass is an especially powerful force in the set, pushing out the tunes with a flowing quality that pulsates nicely even on the more gentle numbers. Titles include "Lonely Woman", "Where Does It Lead", "My Shining Hour", "Spur Of The Moment", and "Carole's Waltz".

An excellent live outing from pianist Denny Zeitlin – recorded at the height of his early powers! The session's got a fresly new conception to piano-based jazz – a style that resonates nicely with the best 60s work of Steve Kuhn or Keith Jarrett, sharing some of the tenderness of the former and the sense of color of the latter. Rhythm is from the team of Charlie Haden on bass and Jerry Granelli on drums – and Haden's bass is an especially powerful force in the set, pushing out the tunes with a flowing quality that pulsates nicely even on the more gentle numbers. Titles include "Lonely Woman", "Where Does It Lead", "My Shining Hour", "Spur Of The Moment", and "Carole's Waltz".

A really great look at Impulse Records – one that gets past the obvious iconic elements of the label, and really shows the true spectrum of amazing music it handled during the 60s and 70s! Unlike other Impulse sets, which often stick close to the big-name recordings of the 60s, this one stretches way up to the mid 70s – to show the really inventive, creative sounds the label put forth in the post-Coltrane years – music inspired by the great one, and moving past him as well – even into some of the more funky territory you might have found over at Blue Note or Columbia! The 2CD package features 30 tracks in all – and cuts include "Once Upon A Time" by Marion Brown, "Didn't I Tell You" by John Handy, "Spirit Dance" by Michael White, "Sita Ram" by Alice Coltrane, "Roadwork" by Howard Roberts, "Flame" by Keith Jarrett, "Water Music" by Albert Ayler, "Mansion Worlds" by Pharoah Sanders, "Jazz N Samba" by Milt Jackson, "Caravan" by Freddie Hubbard, "Blues For We" by Mel Brown, "How Insensitive" by Ahmad Jamal, "Summertime" by Art Blakey, "The Breeze & I" by Curtis Fuller, "Broadwalk Samba" by Hank Jones & Oliver Nelson, and "Evil Eye" by Chico Hamilton.

A killer from the Charles Lloyd group of the late 60s – a set that still stretches out with all the spiritual energy of Lloyd's other Atlantic albums, yet also seems to have a bit more of a groove, too! The setting is live, and the tracks are nice and long – allowing ample room for solos by Lloyd on tenor and flute and Keith Jarrett on piano – working here with great accompaniment from Ron McClure on bass, and Jack DeJohnette on drums. Titles include a massive take on "Sombrero Sam" – done in a nice Latin groove, and very upbeat – plus the spiritual "Voice In The Night", and the cuts "Pre-Dawn" and "Forest Flower 69".