Prime Keith Jarrett on Impulse Records – and a still-wonderful session that features work by the great group that featured Dewey Redman on tenor, Charlie Haden on bass, and Paul Motian on drums! 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". LP, Vinyl record album

One of the most haunting album ever recorded by pianist Keith Jarrett – a set of improvisations that were mostly recorded in a single take, but which have Jarrett working on clavichord – an instrument that creates a very different feeling than his more familiar piano! At some level, the album resonates a bit with some of Keith's recordings of early music at the time – but these aren't compositions, just nineteen numbered selections that all take off on the unique properties of the clavichord – using the stark strings of the instrument in maybe more close-up and personal modes than some of Jarrett's more robust piano, almost with more of a sense of intimacy overall. A really beautiful double-length set – and a unique chapter in the career of this legendary musician! CD

Beautiful late life improvisations from Keith Jarrett – a concert from 2016 that shows that the format he unleashed in the 70s was still amazingly alive and well – yet also nicely matured a bit too! Instead of one album-length track, the set features a number of shorter passages, 13 in all – all still improvised by Jarrett with that instant creativity he can bring to the piano, but operating maybe more as a set of smaller poems than one epic work – really beautiful sounds that are masterpieces in subtle emotion – the kind of pianistic work that just about nobody else on the planet can do this well, especially after all the many years that Jarrett has had to perfect his craft! We're huge fans of the pianist in this format, and own just about every other album of solo improvisation he ever recorded – but take it from us, there's still something very unique and special about this set – a bittersweet farewell to one of the piano greats of our time. LP, Vinyl record album

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. CD

Really wonderful early work from Keith Jarrett – a spiritually-driven session that's free from the cliches of his later work! The album's a spectacular group effort – one that has Jarrett playing piano, percussion, and sax – in an ensemble that also includes Dewey Redman, Charlie Haden, Paul Motian, and Guilherme Franco. There's a lightly percussive sound underneath most of the tracks – spare, organic, almost earthy – as the tunes open up and flower over a long passage of time – gently stretching out in that beautiful post-Coltrane Impulse spiritual approach to jazz of the early to mid 70s. Great stuff throughout, and with 3 long tracks that include "Great Bird", "Prayer", and "Death & The Flower". LP, Vinyl record album

A totally wonderful album from the young Keith Jarrett – and a set that's different than most of the pianist's other well-known modes – not his solo improvisations, not his successful trio material, and not even his more outside quartet modes of the 70s – but instead this incredible criss-crossing of sounds that really stands apart from most of his other records! The album features Keith on piano and soprano sax – an instrument he played more early on – in open, freewheeling tracks that often mix tuneful passages with more rhythmic pulsations – handled with a core group that includes Charlie Haden on bass and Paul Motian on drums, working with guitar from Sam Brown, tenor from Dewey Redman, percussion from Airto, and some larger string and brass arrangements too! Jarrett also plays electric piano at times, and the album has some of the lyricism of Treasure Island, but with a very different vibe – spun out beautifully over the space of the double-length set. Titles include "Take Me Back", "Expectations", "Vision", "Common Mama", "The Magician In You", "Sundance", "Nomads", and "Bring Back The Time When". CD

A key early moment for Keith Jarrett – his first-ever solo album, recorded in the early 70s for ECM – and the start of a huge legacy of later work! Before this set, Jarrett had recorded some compelling trio material for Atlantic – and he was also exploring more spiritually soulful tones over at Impulse Records too. But this record is something else entirely – a new showcase for his sensitive expressions – the kind of angular, yet poetic lines that sparkled strongly in the trio recordings, yet stand out even more on their own! Tunes are beautifully penned – and titles include "In Front", "Ritooria", "Lalene", "Starbright", "Vapallia", and "Semblence". CD

Some of Jarrett's most hypnotic music – a set of hymns originally written by the spiritualist GI Gurdjieff! LP, Vinyl record album

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! LP, Vinyl record album

Includes the songs "De Drums", "Silence", "Blackberry Winter", "Bop-Be", "Vapallia", "Treasure Island", and "Byablue". CD

A genre-defining moment from pianist Keith Jarrett – a record that really set the world on fire, and which continues to charm all these many decades later! Although Jarrett had already made some amazing music in a trio setting during the 60s, and in his more freewheeling groups with Dewey Redman in the early 70s, it's this sort of format that forever put him on the map – long, extended improvised passages on solo piano – played at a level that's still extremely lyrical, tuneful, and thoughtful – quite different than the free jazz waves that were building at the time! And while so many other people copied the style over the years, nobody does it better than Jarrett – especially on this landmark outing for the style. The work is amazing – extremely compelling as little melodies drift in and out of the waves of piano improvisation – without any of the sloppiness of some of Jarrett's imitators, and a surprising sense of soul and direction throughout! CD

A genre-defining moment from pianist Keith Jarrett – a record that really set the world on fire, and which continues to charm all these many decades later! Although Jarrett had already made some amazing music in a trio setting during the 60s, and in his more freewheeling groups with Dewey Redman in the early 70s, it's this sort of format that forever put him on the map – long, extended improvised passages on solo piano – played at a level that's still extremely lyrical, tuneful, and thoughtful – quite different than the free jazz waves that were building at the time! And while so many other people copied the style over the years, nobody does it better than Jarrett – especially on this landmark outing for the style. The work is amazing – extremely compelling as little melodies drift in and out of the waves of piano improvisation – without any of the sloppiness of some of Jarrett's imitators, and a surprising sense of soul and direction throughout! LP, Vinyl record album

A lengthy, two-part solo improvisation that closes with Harold Arlen's "Over The Rainbow". CD

A really beautiful album – quite different than the solo or trio material by Keith Jarrett for ECM in the 70s – as the group is a quartet, with Jan Garbarek on soprano and tenor sax, Palle Danielsen on bass, and Jon Christensen on drums. LP, Vinyl record album

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". CD

A great solo set – one long improvisation, and two encores! CD

Features Keith Jarrett on piano and soprano sax, Dewey Redman on tenor, Charlie Haden on bass, and Paul Motian on drums. CD

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". LP, Vinyl record album

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". CD

A key moment in the career of pianist Keith Jarrett – and one that would continue to provide him a strong space for exploration in his later years at ECM! Jarrett first rose to great fame on the label with his long-spun solo improvisation albums of the 70s – and had also recorded famously in a more avant mode in the previous decade with quartets – but here, he returns to the trio format of his earliest records, yet in a way that completely embraces all the changes that had happed in the space of time – so that Jarrett is taking a completely fresh approach to jazz standards – respecting the tunes, but really using them as a great vehicle for rhythmic and melodic improvisation. His strong partners in crime here are bassist Gary Peacock and drummer Jack DeJohnette – both musicians who also expanded greatly in the previous decade – and they work perfectly with Keith, on long variations on the tunes "Meaning Of The Blues", "All The Things You Are", "It Never Entered My Mind", "The Masquerade Is Over", and "God Bless The Child". CD

A fantastic 70s album from Gary Burton – a set that definitely has the "new" promised in the title, as it takes off more from some of Gary's work in previous years! The record's got this explosive sense of color that really comes through in Gary's vibes – and in the way the group can leaop into the fray when needed – almost funky at points, but also able to shift into more sensitive modes too – balanced between the guitar of Michael Goodrick,bass of Abraham Laboriel, and drums of Harry Blazer. Burton's got a bit more bite at times than before – pushing even past his Atlantic Records sound and the tunes are a well-chosen array of songs by contemporaries who include Keith Jarrett, Mike Gibbs, Chick Corea, and Carla Bley. Titles include "Open Your Eyes You Can Fly", "Coral", "Tying Up Loose Ends", "Olhos De Gato", and "Mallet Man". LP, Vinyl record album

Amazing modern work from the young Chick Corea – a set that captures the pianist in much more avant territory than his famous 70s sets – at a time when he was just coming off some years working in a variety of modes on the New York scene! The group here is as revolutionary as Chick's own work on piano – a trio with Miroslav Vitous on bass and Roy Haynes on drums – generations coming together to really unlock the possibilities of a piano trio, with the same sort of freshness that you'd hear in the earliest work by Steve Kuhn or Keith Jarrett from the same time. By that, we mean that there's still elements here that tie the approach to older modes – but with a quality that's also instantly Chick's own – especially on the very compelling original material on the set. Titles include "Now He Sings – Now He Sobs", "Steps – What Was", "Matrix", and "The Law Of Falling & Catching Up". LP, Vinyl record album

Amazing modern work from the young Chick Corea – a set that captures the pianist in much more avant territory than his famous 70s sets – at a time when he was just coming off some years working in a variety of modes on the New York scene! The group here is as revolutionary as Chick's own work on piano – a trio with Miroslav Vitous on bass and Roy Haynes on drums – generations coming together to really unlock the possibilities of a piano trio, with the same sort of freshness that you'd hear in the earliest work by Steve Kuhn or Keith Jarrett from the same time. By that, we mean that there's still elements here that tie the approach to older modes – but with a quality that's also instantly Chick's own – especially on the very compelling original material on the set. Titles include "Now He Sings – Now He Sobs", "Steps – What Was", "Matrix", and "The Law Of Falling & Catching Up". Lots of bonus tracks – including "Fragments", "Windows", "Samba Yantra", "I Don't Know", "Gemini", and "Bossa". CD

Amazing modern work from the young Chick Corea – a set that captures the pianist in much more avant territory than his famous 70s sets – at a time when he was just coming off some years working in a variety of modes on the New York scene! The group here is as revolutionary as Chick's own work on piano – a trio with Miroslav Vitous on bass and Roy Haynes on drums – generations coming together to really unlock the possibilities of a piano trio, with the same sort of freshness that you'd hear in the earliest work by Steve Kuhn or Keith Jarrett from the same time. By that, we mean that there's still elements here that tie the approach to older modes – but with a quality that's also instantly Chick's own – especially on the very compelling original material on the set. Titles include "Now He Sings – Now He Sobs", "Steps – What Was", "Matrix", and "The Law Of Falling & Catching Up". Lots of bonus tracks – including "Fragments", "Windows", "Samba Yantra", "I Don't Know", "Gemini", and "Bossa". CD

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". LP, Vinyl record album

Harold Danko may look a bit boring on the cover, but the album's full of stunning beauty throughout – an all-solo session that seems to show off Danko's rich command of the piano in a way that we've never heard before! The songs are all compositions by Harold, but they have an open, freewheeling sense of exploration that takes us back to Keith Jarrett improvisations of the 70s – even though Danko is a very different player than Jarrett overall, and the recording quality here has a heck of a lot more warmth than a session from ECM. The comparison is just one that we're using to convey the sense of discovery and spontaneous expression that comes from Danko's fingers on the keys – really magical music that has us listening to the pianist in a whole new way. Titles include "Nirigama", "No Escape", "Address Unknown", "Premonitions & Reflections", and "Mystic Dancers". CD

An excellent compilation of concert recordings from Miles Davis – the first 3 numbers from the 1969 Newport Jazz Festival and capturing Miles, Chick Corea, Dave Holland and Jack DeJohnette in the months before the studio version of Bitches Brew – plus 6 tracks from Isle Of Wight in the months after the revolutionary Bitches Brew came out! The earlier tracks from Newport were previously unissued, and include "Miles Runs The Voodoo Down" (the earliest known professional, non-bootleg live recording of this track and it's a monster), "Sanctuary" and "It's About Time". The rest of the CD features the full live set from the iconic Isle Of Wight festival in 1970 – Miles in full-on funked out mode with Gary Bartz, Keith Jarrett and Airto Moreira in addition to the above mentioned players. The Isle Of Wight stuff was previously included with the mammoth Complete Columbia Recordings box set, but never issued completely anywhere else. Those tracks include "Directions", "Bitches Brew", "It's About That Time", a totally different, shorter and spacier take on "Sanctuary", "Spanish Key" and "The Theme". Rare and overlooked live Miles, recorded on a pair of dates during one of the most incredible 13 month periods that any artist ever lived! CD

Not just Miles Davis live at Newport – but Miles at Newport over the course of 20 years, in the space of eight different live performances – almost all of which are previously unreleased! Apart from the 1958 and 1969 Newport material here, most of the 4CD set features all-new, all-great vintage Miles material – with Newport performances from 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975 – the last three of which are Newport festivals in Europe and New York. And these aren't just random tracks, but full sets, too – even with some announcements at the start or end – and players include Gerry Mulligan and Zoot Sims for the 1955 concert; John Coltrane, Cannonball Adderley, and Bill Evans in 1958; Herbie Hancock, Wayne Shorter, Ron Carter, and Tony Williams for 1966 and 1967; Jack DeJohnette, Dave Holland, and Chick Corea in 1969; a big electric group with Keith Jarrett, Gary Bartz, Michel Henderson, and Mtume in 1971; and Pete Cosey, Davie Liebman, Reggie Lucas, and Mtume for the 1973 and 1975 shows. A huge amount of material – 4 CDs in a great package, with detailed notes, too! CD

A massive moment for Miles Davis – legendary live performances at both the Fillmore East and Fillmore West from 1970 – presented here in their entirety for the first time ever! Part of the record features Miles' work that appeared in edited form on the Miles Davis At Fillmore record – but issued here without the edits, so that you can really hear the group take off in unbridled, Bitches Brew-like energy – served up by a lineup that includes Steve Grossman on tenor and soprano sax, Chick Corea on Fender Rhodes, Keith Jarrett on organ, Dave Holland on bass, Jack DeJohnette on drums, and Airto on percussion and flute. The set then also includes material recorded in April at the Fillmore West – but all unissued tracks, and not the material that was on the Black Beauty album at all. These tracks feature a similar lineup, but without Keith Jarrett – on a few long tracks. The set separates out all the tunes with great clarity and better mastering than before – and adds 100 minutes to the Fillmore East set. Titles include "Directions", "The Mask", "It's About That Time", "Bitches Brew", "Spanish Key", "Sanctuary", "I Fall In Love Too Easily", "Footprints", "Paraphernalia", "Miles Runs The Voodoo Down", "Willie Nelson", and "The Theme". CD

Miles in four different live dates – three in Italy and one in New York – that really show his evolution during this period and features amazing work by Wayne Shorter, Herbie Hancock, Tony Williams, Chick Corea, Keith Jarrett, and Gary Bartz. Titles include "Miles Runs The Voodoo Down", "Hush", "Shhh/Peaceful", and "Footprints". CD

A set that definitely lives up to the poetry promised in its title – with none of the too-clean sounds you might guess from its hand-washing reference either! The album's one of the freest, most organic sessions we've heard from pianist Masabumi Kikuchi – almost improvised at points, but with a poetic cohesion in the piano lines that's really great – kind of an offbeat sense of lyricism that points in the same directions that Steve Kuhn or Keith Jarrett were heading in the late 60s. Drummer Masahiko Togashi plays lots of cool percussion and even a bit of gong – and Gary Peacock's bass here is as great as on any of his other excellent Japanese recordings. Titles include "Dreams", "The Trap", "The Milky Way", "Apple", "Get Magic Again", and "End". CD

Beautiful solo piano work from Marek Latarnik Pedziwiatr – a player you might know for his crucial contributions to the groups EABS and Jaubi – sounding very different and a lot more personal here on his own! Latarnik's touch on the piano is often very rhythmic and lyrical at the same time – less of the freer flights of Keith Jarrett improvisations, or the spacious tones of Bugge Wesseltoft in such a mode – and instead working in a way that uses the instrument to create these really wonderful cycles of sound – sometimes with a gentle pulse, sometimes with a much fuller flow! Titles include "Panna", "Glod", "Wspomienie", "Berlin", "Strach 1945", "Marta", and "Maradki". CD

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". CD

The pianist from Indigo Jam Unit – stepping out on a solo set with a completely different sound! Although IJU always have a tight, bass-heavy approach to funk in their music, always augmented by heavy piano from Yoshichika Tarue – this time around, the pianist is hitting warmer, more gentle modes – solo piano lines recorded with a beautifully echoey, almost watery quality! The sound is a bit hard to peg – the gentle soul of Keith Jarrett's 70s solo work, but with some of the intimate sentimentality of the spare non-guitar Durutti Column piano moments of the early 80s – a reference that's particularly apt, given the way this set was recorded. CD

The reach of Miles Davis is plenty wide – as right from the start, the trumpeter was associating himself with some of the hippest young talent on the scene! Yet the apex of those associations may have come in the late 60s and early 70s, when the newly-electric Miles was experimenting in all sorts of new rhythms and instrumental combinations – and inviting a whole host of soon-to-be-legends to help him with his projects! This set is a great overview of some of those key contemporaries – and the way that they took new directions of their own, when away from Miles – some very much in the spirit of the Bitches Brew generation, others opening up in whole new frontiers of soul and spirit. The set features some really well-chosen tracks – a key who's who to this generation – and titles include "Sweet Pea" by Wayne Shorter, "In A Silent Way" by Joe Zawinul, "Common Mama" by Keith Jarrett, "Song Of The Wind (alt)" by Chick Corea, "In Search Of Truth" by Lonnie Liston Smith, "Arjen's Bag" by John McLaughlin, "Politician Man" by Betty Davis, "Uhuru Sasa" by Gary Bartz, "You'll Know When You Get There" by Herbie Hancock, and "Directions (16 December 1970 – first set)" by Miles Davis himself. CD

The reach of Miles Davis is plenty wide – as right from the start, the trumpeter was associating himself with some of the hippest young talent on the scene! Yet the apex of those associations may have come in the late 60s and early 70s, when the newly-electric Miles was experimenting in all sorts of new rhythms and instrumental combinations – and inviting a whole host of soon-to-be-legends to help him with his projects! This set is a great overview of some of those key contemporaries – and the way that they took new directions of their own, when away from Miles – some very much in the spirit of the Bitches Brew generation, others opening up in whole new frontiers of soul and spirit. The set features some really well-chosen tracks – a key who's who to this generation – and titles include "Sweet Pea" by Wayne Shorter, "In A Silent Way" by Joe Zawinul, "Common Mama" by Keith Jarrett, "Song Of The Wind (alt)" by Chick Corea, "In Search Of Truth" by Lonnie Liston Smith, "Arjen's Bag" by John McLaughlin, "Politician Man" by Betty Davis, "Uhuru Sasa" by Gary Bartz, "You'll Know When You Get There" by Herbie Hancock, and "Directions (16 December 1970 – first set)" by Miles Davis himself. CD

With selections by Gato Barbieri, Keith Jarrett, John Klemmer, Sam Rivers, and Michael White. LP, Vinyl record album

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". LP, Vinyl record album

A long-awaited addition to the Miles Davis electric catalog – and a package that features over 4 hours of newly-discovered music! The 6CD set documents 4 nights of performance by Miles at the Cellar Door in Washington DC – recorded in December of 1970, and featuring a mindblowing group that includes Gary Bartz on soprano and alto sax, Keith Jarrett on Fender Rhodes and organ, Airto on percussion, Michael Henderson on bass, Jack DeJohnette on drums, and a bit of guitar from John McLaughlin on the last 2 CDs. There's a really hard and heavy feel here that's steeped in rock and soul influences – and the package is even more amazing, considering how little work has been offered from this unique point in Davis' career. Presentation of the material is in the same high standards as other Miles Davis boxes on Sony – with a 96 page book with notes and reflections by each band member, and a whopping 6 CDs of music, featuring mostly really long takes on the tunes! Titles include "Directions", "What'd I Say", "Honky Tonk", "Sanctuary", "Improvisation #3", "Inamorata", "It's About That Time", and "Yesternow". CD

There's nothing "flashback" about this one – because the record's about as in-the-moment as you could be for jazz piano in the early 60s! Don Friedman's a really tremendous player at this point in his career – a sometimes unsung hero in the space between Bill Evans and Keith Jarrett – and one who played with the sensitivity of the former and some of the pre-cliche sense of freedom of the latter. There's a fresh voice to nearly all the tunes on the set – even when they're not originals – and Don has a way of making the keys of the piano step forth in waves of sound that are subtle, but seductive – although not in any too-romantic or too-flowery ways. Rhythm is by Dick Kniss on bass and Dick Berk on drums – on titles that include "News Blues", "Flashback", "How Deep Is The Ocean", "Ochre", and "Ballade In C Sharp Minor". LP, Vinyl record album