Search - Keith Jarrett :: Juicio / Life Between the Exit Signs

2 1sts in One

G B | Connecticut | 02/18/2006

(4 out of 5 stars)

"This album contains two Keith Jarrett "1sts" -- his debut recording as a leader, and an album of material from his first session with the classic "American Quartet". Both were recorded for Atlantic Records and are among his better albums for that label. While Jarrett has gained a reputation as a (perhaps overly) serious and self-conscious artist in the years since, these albums are permeated with energy, reckless experimentation and a youthful sense of fun.



Life Between the Exit Signs (tracks 7-14) was recorded in 1967, when Jarrett was still a member of the innovative Charles Lloyd quartet. His musical partners here are bassist Charlie Haden and drummer Paul Motian; through their previous associations, these two pinpoint the key influences on Jarrett during this time (Ornette Coleman and Paul Bley). The interplay within the trio is fairly free with lots of give-and-take, though not as sophisticated or telepathic as it would become on masterpieces like Mysteries and Fort Yawuh. The compositions -- all Jarrett's except for the standard "Everything I Love" -- vary from dissonantly melodic to outright catchy. Jarrett's late 60s propensity for gospel-infused playing over rolling, funky vamps (a la "Sombrero Sam" or "Love-In") is largely absent.



El Juicio (tracks 1-6) was recorded about 4 years later, and draws from the initial recordings of Jarrett's "American Quartet". (Most of the group's later recordings actually feature 5 or 6 members, but the 4tet moniker stuck.) This group was actually an outgrowth of the previous trio, with the great Dewey Redman joining in on reeds and occasional percussion. The quartet was a huge stylistic grab-bag, especially on its earlier recordings, but here that wild eclecticism works. Every musician except Haden doubles on various percussion instruments. Jarrett plays quite a bit of soprano saxophone; Dewey adds some of his trademark Chinese musette and (on 1 track) alto saxophone. The album begins with "Gypsy Moth", anchored by a funky groove and a very catchy, upbeat theme. Jarrett offers some nice two-handed gospel-infused playing and then Dewey follows on alto. (The only time he played this instrument with the group, I believe.) "Toll Road" and "Piece for Ornette" both feature convulted, sing-songy themes and Jarrett on soprano playing off Dewey's tenor. "Pre-Judgment Atmosphere" is a fun collective improvisation with various percussion. It leads into "El Juicio", another nice Ornette-ish tune (with Jarrett on piano) before turning into a somewhat diffuse ethnic-flavored collective improvisation. The short solo piano piece "Pardon My Rags" isn't included on this reissue, but worth seeking out in some form.



Overall this CD is recommended to Jarrett fans, particularly those who like the American group and/or his more avant-garde leanings."