Keith Jarrett (born May 8, 1945, in Allentown, Pennsylvania) is an American pianist/composer who performs both jazz and classical music.
Jarrett started his career with Art Blakey, moving on to play with Charles Lloyd and Miles Davis. Since the early 1970s he has enjoyed a great deal of success in jazz, jazz fusion, and classical music; as a group leader and a solo performer. His improvisations draw not only from the traditions of jazz, but from other genres as well, especially Western classical music, gospel, blues, and ethnic folk music.
In 2003, Jarrett received the Polar Music Prize, the first (and to this day only) recipient not to share the prize with a co-recipient, and in 2004 he received the Léonie Sonning Music Prize.
In 2008, he was inducted into the Down Beat Hall of Fame in the magazine's 73rd Annual Readers' Poll.
Early years
Jarrett, who is of
Hungarian and
Scottish extraction, grew up in suburban
Allentown, Pennsylvania, with significant early exposure to music. He possessed
absolute pitch, and he displayed prodigious musical talents as a young child. He began piano lessons just before his third birthday, and at age five he appeared on a TV talent program hosted by the swing bandleader Paul Whiteman. The young Jarrett gave his first formal piano recital at the age of seven, playing works by composers including Mozart, Bach, Beethoven, and Saint-Saëns, and ending with two of his own compositions. Encouraged especially by his mother, Jarrett took intensive classical piano lessons with a series of teachers, including
Eleanor Sokoloff of the
Curtis Institute.
In his teens, as a student at Emmaus High School in Emmaus, Pennsylvania, Jarrett learned jazz and quickly became proficient in it. In his early teens, he developed a strong interest in the contemporary jazz scene; a Dave Brubeck performance was an early inspiration. At one point, he had an offer to study classical composition in Paris with the famed teacher Nadia Boulanger—an opportunity that pleased Jarrett's mother but that Jarrett, already leaning toward jazz, decided to turn down.
Following his graduation from Emmaus High School in 1963, Jarrett moved from Allentown to Boston, Massachusetts, where he attended the Berklee College of Music and played cocktail piano in local clubs. After a year he moved to New York City, where he played at the Village Vanguard.
In New York, Art Blakey hired Jarrett to play with the Jazz Messengers. During a show with that group he was noticed by Jack DeJohnette who (as he recalled years later) immediately realized the talent and the unstoppable flow of ideas of the unknown pianist. DeJohnette talked to Jarrett and soon recommended him to his own band leader, Charles Lloyd. The Charles Lloyd Quartet had formed not long before and were exploring open, improvised forms while building supple grooves; without quite realizing it at first, they were moving into terrain that was also being explored, although from another stylistic background, by some of the psychedelic rock bands of the west coast. Their 1966 album ''Forest Flower'' was one of the most successful jazz recordings of the mid-1960s and when they were invited to play the Fillmore in San Francisco, they won over the local hippie audience. Although the band would become plagued by internal instability and (according to Jarrett) siphoning-off of show revenue by Lloyd, its tours across America and Europe, even to Moscow, made Jarrett a widely noticed musician in rock and jazz underground circles. It also laid the foundations of a lasting musical bond with drummer Jack DeJohnette (who also plays the piano). The two would cooperate in many contexts during their later careers.
In those years, Jarrett also began to record his own tracks as a leader of small informal groups, at first in a trio with Charlie Haden and Paul Motian. Jarrett's first album as a leader, ''Life Between the Exit Signs'' (1967), was released on the Vortex label, to be followed by ''Restoration Ruin'' (1968), which is arguably the most bizarre entry in the Jarrett catalog. Not only does Jarrett barely touch the piano, but he plays all the other instruments on what is essentially a folk-rock album, and even sings. Another trio album with Haden and Motian, titled ''Somewhere Before'', followed later in 1968, this one recorded live for Atlantic Records.
Miles Davis
The Charles Lloyd Quartet with Jarrett,
Ron McClure and
Jack DeJohnette came to an end in 1968, after the recording of
Soundtrack because of disputes over money as well as artistic differences. Jarrett was asked to join the
Miles Davis group after Miles heard him in a New York City club (according to another version Jarrett tells, Miles had brought his entire band to see a tour date of Jarrett's own trio in Paris; the Davis band being practically the only audience, an attention that made Jarrett feel embarrassed). During his tenure with Davis, he played both Fender Contempo
electronic organ and
Fender Rhodes electric piano, alternating with
Chick Corea; they can be heard side by side on some 1970 recordings, for instance the August, 1970 Isle of Wight Festival performance preserved in the film ''
Miles Electric: A Different Kind of Blue'' and now on
Bitches Brew Live After Corea left in 1970, Jarrett often played electric piano and organ simultaneously. Despite his growing dislike of amplified music and electric instruments within jazz, he continued with the group out of respect for Davis and because of his desire to work with Jack DeJohnette. He has often cited Davis as a vital influence, both musical and personal, on his own thinking about music and improvisation.
Jarrett is heard on several Davis albums: ''Miles Davis at Fillmore: Live at the Fillmore East'', ''The Cellar Door Sessions'' (recorded December 16–19, 1970, at the Cellar Door club in Washington, DC), and ''Live-Evil'', which is largely composed of heavily edited Cellar Door recordings. The extended sessions from these recordings can be heard on ''The Complete Cellar Door Sessions''. Jarrett also plays electric organ on ''Get Up With It''; the song he is featured on, "Honky Tonk", is an abridged version of a track available in its entirety on ''The Complete Jack Johnson Sessions''. In addition, part of a track called "Konda" (recorded May 21, 1970) was released during Davis's late-1970s retirement on a compilation album called ''Directions'' (1980). The track, which features an extended Fender-Rhodes piano introduction by Jarrett, was released in full on 2003's ''The Complete Jack Johnson Sessions''.
1970s quartets
From 1971 to 1976, Jarrett added saxophonist
Dewey Redman to the existing trio with Haden and Motian (who would produce one more album as a threesome called ''
The Mourning of A Star'' for Atlantic Records in 1971). The so-called American quartet was often supplemented by an extra percussionist, such as Danny Johnson,
Guilherme Franco, or
Airto Moreira, and occasionally by guitarist
Sam Brown. The quartet members played various instruments, with Jarrett often being heard on soprano saxophone and percussion as well as piano; Redman on musette, a Chinese double-reed instrument; and Motian and Haden on a variety of percussion. Haden also produced a variety of unusual plucked and percussive sounds with his acoustic bass, even running it through a wah-wah pedal for one track ("Mortgage on My Soul," on the album ''Birth''). The group recorded two albums for
Atlantic Records in 1971, ''
El Juicio (The Judgement)'' and ''
Birth''; one on
Columbia Records, ''
Expectations'' that included rock-influenced guitar by
Sam Brown as well as string and brass arrangements, and for which his contract with Columbia was immediately terminated; eight albums on
Impulse! Records; and two on the
ECM label.
The last two albums, both recorded for Impulse!, feature mainly the compositions of the other band members, as opposed to Jarrett's own, which dominated the previous albums.
Jarrett's compositions and the strong musical identities of the group members gave this ensemble a very distinctive sound. The quartet's music is an amalgam of free jazz, straight-ahead post-bop, gospel music, and exotic, Middle-Eastern-sounding improvisations.
In the mid- and late 1970s Jarrett led a "European quartet" concurrently with the American quartet, which was recorded by ECM. This combo consisted of saxophonist Jan Garbarek, bassist Palle Danielsson, and drummer Jon Christensen.
This ensemble played in a style similar to that of the American quartet, but with many of the avant-garde and Americana elements replaced by the European folk influences that characterized the work of ECM artists at the time.
Jarrett became involved in a legal wrangle following the release of the album ''Gaucho'' in 1980 by the U.S. rock band Steely Dan. The album's title track, credited to Donald Fagen and Walter Becker, bore an undeniable resemblance to Jarrett's "Long As You Know You're Living Yours," from the ''Belonging'' album. When a ''Musician'' magazine interviewer pointed out the similarity, Becker admitted that he loved the Jarrett composition and Fagen said they had been influenced by it. After their comments were published, Jarrett sued, and Becker and Fagen were forced to add his name to the credits and to include him in the royalties.
Solo piano
Jarrett's first album for ECM, ''
Facing You'' (1971), was a solo piano date recorded in the studio. He has continued to record solo piano albums in the studio intermittently throughout his career, including ''
Staircase'' (1976), ''
The Moth and the Flame'' (1981), and ''
The Melody at Night, With You'' (1999). ''
Book of Ways'' (1986) is a studio recording of clavichord solos.
The studio albums are modestly successful entries in the Jarrett catalog, but in 1973, Jarrett also began playing totally improvised solo concerts, and it is the popularity of these voluminous concert recordings that has made him one of the best-selling jazz artists in history, not to mention one of the most ambitious and innovative. Albums released from these concerts include ''The Köln Concert'' (1975) which became the best selling piano recording in history; and ''Sun Bear Concerts'' (1976) - a 10-LP (and later 6-CD) Box Set.
Another of Jarrett's solo concerts, ''Dark Intervals'' (1987, Tokyo), had less of a free-form improvisation feel to it because of the brevity of the pieces. Sounding more like a set of short compositions, these pieces are nonetheless entirely improvised.
After a hiatus, Jarrett returned to the extended solo improvised concert format with ''Paris Concert'' (1990), ''Vienna Concert'' (1991), and ''La Scala'' (1995), before his career was interrupted by chronic fatigue syndrome. These later concerts tend to be more influenced by classical music than the earlier ones, reflecting his interest in composers such as Bach and Shostakovich, and are mostly less indebted to popular genres such as blues and gospel. The ''Vienna Concert'' in particular has been widely hailed as a masterpiece of improvisation, with its huge, arch-like opening movement, with a stunningly dissonant, virtuosic middle section, framed by more lyrical sections; Jarrett himself, in the liner notes to the album, named it his greatest achievement and the fulfillment of everything he was aiming to accomplish.
Jarrett has commented that his best performances have been when he has had only the slightest notion of what he was going to play at the next moment. An apocryphal account of one such performance had Jarrett staring at the piano for several minutes without playing; as the audience grew increasingly uncomfortable, one member shouted to Jarrett, "D sharp!", to which the pianist responded, "Thank you!", and launched into an improvisation.
Jarrett's 100th solo performance in Japan was captured on video at Suntory Hall Tokyo on April 14, 1987, and released the same year. The recording was titled ''Solo Tribute.'' This is a set of almost all standard songs.
Another video recording, titled ''Last Solo'', was released in 1987 from a live solo concert at Kan-i Hoken hall, Tokyo, Japan, recorded January 25, 1984.
Both ''Solo Tribute'' and ''Last Solo'' were reissued on Image Entertainment DVD in 2002.
In the late 1990s, Jarrett was diagnosed with chronic fatigue syndrome (CFS) and was unable to leave his home for long periods of time. It was during this period that he recorded ''The Melody at Night, With You'', a solo piano effort consisting of jazz standards presented with very little of the reinterpretation he usually employs. The album had originally been a Christmas gift to his second wife, Rose Anne.
By 2000, Jarrett had returned to touring, both solo and with the Standards Trio. Two 2002 solo concerts in Japan, Jarrett's first solo piano concerts following his illness, were released on the 2005 CD ''Radiance'' (a complete concert in Osaka, and excerpts from one in Tokyo), and the 2006 DVD ''Tokyo Solo'' (the entire Tokyo performance). In contrast with previous concerts (which were generally a pair of continuous improvisations 30–40 minutes long), the 2002 concerts consist of a linked series of shorter improvisations (some as short as a minute and a half, a few of fifteen or twenty minutes).
In September 2005 at Carnegie Hall, Jarrett performed his first solo concert in North America in more than ten years, released a year later as a double-CD set (''The Carnegie Hall Concert'').
On November 26, 2008, he performed solo in the Salle Pleyel in Paris, and a few days later, on December 1, at London's Royal Festival Hall, marking the first time Jarrett had played solo in London in seventeen years. These concerts were released in October 2009 on the album Paris / London: Testament.
The Standards Trio
In 1983, at the suggestion of ECM head
Manfred Eicher, Jarrett asked bassist
Gary Peacock and drummer
Jack DeJohnette, with whom he had worked on Peacock's 1977 album ''Tales of Another'', to record an album of
jazz standards, simply titled ''
Standards, Volume 1''. Two more albums, ''
Standards, Volume 2'' and ''
Changes'', both recorded at the same session, followed soon after. The success of these albums and the group's ensuing tour, which came as traditional acoustic post-bop was enjoying an upswing in the early 1980s, led to this new Standards Trio becoming one of the premier
working groups in jazz, and certainly one of the most enduring, continuing to record and tour for more than twenty-five years.
The trio has recorded numerous live and studio albums consisting primarily of jazz repertory material. The trio members each cite Ahmad Jamal as a major influence in their musical development for his use of both melodic and multi-tonal lines..
The Jarrett-Peacock-DeJohnette trio also produced recordings that consist largely of challenging original material, most notably 1987's ''Changeless''. (These recordings are noted above.) Several of the standards albums contain an original track or two, some attributed to Jarrett but mostly group improvisations. The live recordings ''Inside Out'' and ''Always Let Me Go'' (both released in 2001) marked a renewed interest by the trio in wholly improvised free jazz. By this point in their history, the musical communication among these three men had become nothing short of telepathic, and their group improvisations frequently take on a complexity that sounds almost composed. The Standards Trio undertakes frequent world tours of recital halls (the only venues in which Jarrett, a notorious stickler for acoustics, will play these days) and is one of the few truly successful jazz groups to play both straight-ahead (as opposed to smooth) and free jazz.
A related recording, ''At the Deer Head Inn'' (1992), is a live album of standards recorded with Paul Motian replacing DeJohnette, at the venue in Delaware Water Gap, Pennsylvania, 40 miles from Jarrett's hometown, where he had his first job as a jazz pianist. It was the first time Jarrett and Motian had played together since the demise of the American quartet sixteen years earlier.
Classical music
Since the early 1970s, Jarrett's success as a jazz musician has enabled him to maintain a parallel career as a classical composer and pianist, recording almost exclusively for ECM Records.
''In The Light'', an album made in 1973, consists of short pieces for solo piano, strings, and various chamber ensembles, including a string quartet and a brass quintet, and a piece for cellos and trombones. This collection demonstrates a young composer's affinity for a variety of classical styles, with varying degrees of success.
''Luminessence'' (1974) and ''Arbour Zena'' (1975) both combine composed pieces for strings with improvising jazz musicians, including Jan Garbarek and Charlie Haden. The strings here have a moody, contemplative feel that is characteristic of the "ECM sound" of the 1970s, and is also particularly well-suited to Garbarek's keening saxophone improvisations. From an academic standpoint, these compositions are dismissed by many classical music aficionados as lightweight, but Jarrett appeared to be working more towards a synthesis between composed and improvised music at this time, rather than the production of formal classical works. From this point on, however, his classical work would adhere to more conventional disciplines.
''Ritual'' (1977) is a composed solo piano piece recorded by Dennis Russell Davies that is somewhat reminiscent of Jarrett's own solo piano recordings.
''The Celestial Hawk'' (1980) is a piece for orchestra, percussion, and piano that Jarrett performed and recorded with the Syracuse Symphony under Christopher Keene. This piece is the largest and longest of Jarrett's efforts as a classical composer.
''Bridge of Light'' (1993) is the last recording of classical compositions to appear under Jarrett's name. The album contains three pieces written for a soloist with orchestra, and one for violin and piano. The pieces date from 1984 and 1990.
In 1988 New World Records released the CD ''Lou Harrison: Piano Concerto and Suite for Violin, Piano and Small Orchestra'', featuring Jarrett on piano, with Naoto Otomo conducting the piano concerto with the New Japan Philharmonic. Robert Hughes conducted the Suite for Violin, Piano, and Small Orchestra. In 1992 came the release of Jarrett's performance of Peggy Glanville-Hicks's ''Etruscan Concerto'', with Dennis Russell Davies conducting the Brooklyn Philharmonic. This was released on Music Masters Classics, with pieces by Lou Harrison and Terry Riley. In 1995 the record label Music Masters Jazz released a CD on which one track featured Jarrett performing the exquisite solo piano part in ''Lousadzak'', a 17-minute piano concerto by American composer Alan Hovhaness. The conductor again was Dennis Russell Davies. Most of Jarrett's classical recordings are of older repertoire, but Jarrett may have been introduced to this modern work by his one-time manager George Avakian, who was a friend of the composer. Jarrett has also recorded classical works for ECM by composers such as Bach, Handel, Shostakovich, and Arvo Pärt.
In 2004, Jarrett was awarded the Léonie Sonning Music Prize. The prestigious award usually associated with classical musicians and composers has only previously been given to one other jazz musician—Miles Davis. The first person to receive the award was Igor Stravinsky, in 1959.
Other works
Jarrett also plays
harpsichord,
clavichord,
organ,
soprano saxophone,
drums, and many other instruments. He often played saxophone and various forms of percussion in the American quartet, though his recordings since the breakup of that group have rarely featured these instruments. On the majority of his recordings in the last twenty years, he has played acoustic piano only. He has spoken with some regret of his decision to give up playing the saxophone, in particular.
On April 15, 1978, Jarrett was the musical guest on ''Saturday Night Live''. His music has also been used on many television shows, including ''The Sopranos'' on HBO. The 2001 German film ''Bella Martha'' (English title: ''Mostly Martha''), whose music consultant was ECM founder and head Manfred Eicher, features Jarrett's "Country," from the European quartet album ''My Song''.
Idiosyncrasies
One of Jarrett's trademarks is his frequent, loud vocalizations (grunting, squealing, and tuneless singing), similar to that of
Glenn Gould,
Thelonious Monk,
Erroll Garner,
Oscar Peterson,
Ralph Sutton,
Willie "The Lion" Smith,
Paul Asaro, and
Cecil Taylor. Jarrett is also physically active while playing, writhing, gyrating, and almost dancing on the piano bench. These behaviors occur in his jazz and improvised solo performances, but are for the most part absent whenever he plays classical repertory. Jarrett has noted his vocalizations are based on involvement, not content, and are more of an interaction than a reaction, ultimately enhancing the quality of the music.
However, Jarrett is notoriously intolerant of audience noise, including coughing and other involuntary sounds, especially during solo improvised performances. He feels that extraneous noise affects his musical inspiration, and distracts from the purity of the sound. As a result, cough drops are routinely supplied to Jarrett's audiences in cold weather, and he has even been known to stop playing and lead the crowd in a group cough. This intolerance was made clear during a concert on October 31, 2006, at the restored Salle Pleyel in Paris. After making an impassioned plea to the audience to stop coughing, Jarrett walked out of the concert during the first half, refusing at first to continue, although he did subsequently return to the stage to finish the first half, and also the second. A further solo concert three days later went undisturbed, following an official announcement beforehand urging the audience to minimize extraneous noise. In 2008, during the first half of another Paris concert, Jarrett complained to the audience about the quality of the piano that he had been given, walking off between solos and remonstrating with staff at the venue. Following an extended interval, the piano was replaced. In 2007, in concert in Perugia during the Umbria Jazz Festival, angered by photographers Jarrett implored the audience: "I do not speak Italian, so someone who speaks English can tell all these assholes with cameras to turn them fucking off right now. Right now! No more photographs, including that red light right there. If we see any more lights, I reserve the right (and I think the privilege is yours to hear us), but I reserve the right and Jack and Gary reserve the right to stop playing and leave the goddamn city!" This caused the organizers of the Festival to declare that they will never invite him again. In a performance at Carnegie Hall on 16 January 2011, he stopped in the middle of a quiet improvisation in an apparent reaction to an audience member's persistent coughing. After a moment's silence, he remarked, "Where's the coughing now?" and continued playing. He subsequently said, "Since I'm the only person in this hall who can't leave, I have just one solution to deal with this coughing--play loud! Is that what you want?". Before he went back to playing another quiet tune, he said, "Maybe I should draw a circle with a line through it and issue a warning--Soft Song."
Jarrett is also extremely protective of the quality of recordings of his concerts. In 1992, a trio concert at the Royal Festival Hall in London was temporarily stopped as he thought he had identified someone in the audience with a recording device. It turned out to be a light on the mixing desk and the concert resumed after an apology. Similarly, a 2010 concert in Lyon was interrupted after he confused the electric devices on an audience member's wheelchair with recording equipment. The concert resumed, although without apology.
Jarrett has been known for many years to be strongly opposed to electronic instruments and equipment. His liner notes for the 1973 album ''Solo Concerts: Bremen/Lausanne'' states: "I am, and have been, carrying on an anti-electric-music crusade of which this is an exhibit for the prosecution. Electricity goes through all of us and is not to be relegated to wires." He has largely eschewed electric or electronic instruments since his time with Miles Davis.
For many years he has been a follower of the teachings of metaphysician and mystic G. I. Gurdjieff. In 1980 he recorded an album of Gurdjieff's compositions, called ''Sacred Hymns'', for ECM.
Personal
Jarrett lives in an 18th-century farmhouse in
Oxford Township,
New Jersey, in rural
Warren County. He uses a converted barn on his property as a recording studio and practice facility.
Jarrett's first marriage, to Margot Erney, ended in divorce. He and his second wife Rose Anne (née Colavito) divorced in 2010 after a thirty-year marriage. Jarrett has four brothers, all younger, two of whom are involved in music. Chris Jarrett is also a pianist, and Scott Jarrett is a producer and songwriter. Noah Jarrett, one of two sons from Jarrett's first marriage, is a bassist and composer.
Discography
References
Sources
Carr, Ian. ''Keith Jarrett: The Man and His Music''. 1992 ISBN 0586092196
Ian Carr, Digby Fairweather, Brian Priestley. 'The Rough Guide to Jazz'. 2003 ISBN 1-84353-256-5
External links
KeithJarrett.it The most complete fan site dedicated to Keith Jarrett
Keith Jarrett fansite.
Interview with Ethan Iverson for BBC (2009)
Art of the States: Keith Jarrett performing ''Lousadzak, op. 48'' (1944) by Alan Hovhaness
Keith Jarrett at Yahoo!Groups.
Keith Jarrett on ECM Records.
Keith Jarrett by Otacílio Melgaço
Keith Jarrett: a short biography (fan site).
"Keith Jarrett Standards Trio Celebrates Its 25th Anniversary" by Ted Gioia Jazz.com.
Keith Jarrett on Marian McPartland's Piano Jazz (NPR).
Recent Interview (2007)
1997 ''New York Times'' profile of Jarrett
Keith Jarrett Transcriptions Project – Transcriptions
Keith Jarrett on ECM Records
Category:1945 births
Category:20th-century classical composers
Category:American jazz composers
Category:American jazz organists
Category:American jazz pianists
Category:American jazz saxophonists
Category:American jazz percussionists
Category:Songwriters from Pennsylvania
Category:Atlantic Records artists
Category:Berklee College of Music alumni
Category:ECM artists
Category:Emmaus High School alumni
Category:Hard bop pianists
Category:American musicians of Scottish descent
Category:American people of Scottish descent
Category:American people of Hungarian descent
Category:Living people
Category:People with chronic fatigue syndrome
Category:Mainstream jazz pianists
Category:Miles Davis
Category:Musicians from New Jersey
Category:Musicians from Pennsylvania
Category:People from Warren County, New Jersey
Category:People from Allentown, Pennsylvania
Category:Avant-garde jazz pianists
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