Here, Keith Jarrett: The Impulse Years, 1973-1974 (a worthy successor to Impulse*s acclaimed 1996 boxed-set release of Keith Jarrett: Mysteries, The Impulse Years, 1975-1976), we at last have in complete and digitally enhanced form what is arguably the American Quartet*s most protean and powerful work. Jarrett*s American Quartet spans a complex web of of criss-crossing lines of influences and experience - musical, cultural and political. Indeed, in this consistently riveting five-disc set, the almost five hours of music speaks with a sense of urgency as fresh and vital as anything being recorded today.



On Fort Yawuh, Keith Jarrett is joined by Dewey Redman (tenor sax), Charlie Haden (bass), Paul Motian (drums), and Danny Johnson (percussion) to produce this set recorded live at the legendary Village Vanguard in New York City on February 24, 1973. About two minutes into “Fort Yawuh,” Jarrett prepares the listener for a piano solo by announcing himself with quick and sharp keyboard jabs that evolve into spared and beautiful crescendos that before too long involve the soulful wails of Redman on the sax. The following song, “De Drums,” is the one track that really swings on this album. Another long one, at 12 minutes in length, “De Drums” is much more focused on a steady and consistent rhythm that is established immediately by a smooth five-note bassline accented by the piano and shakers. Although describable as smooth and cool, this song has a palpable energy perhaps due to the construction of the bassline whose pauses give an enjoyable sense of suspense. A little more than five minutes into this song there is a thematic shift that speeds up the tempo and makes this title swing even more while involving Redman*s sax and Motian*s drum kit. Half past the eight-minute mark the tempo settles back down to its original drawl, and the song finishes with a lazy bop that makes this the standout track on the album. Fans of Jarrett*s avant-garde liberalism will find “De Drums” to be the track most unlike the other four selections on this album. “Still Life, Still Life” is more like a ballad in that it*s very slow, but it still maintains the structural freedom featured in the “Fort Yawuh,” “(If the) Mysfits (Wear It),” and “Roads Traveled, Roads Veiled.”

Qa*id Jacobs
All Music



Originally an Impulse LP that surfaced on MCA as a straight reissue on CD, this fine recording features pianist Keith Jarrett*s best regular group. Dewey Redman is heard from on tenor, bassist Charlie Haden , drummer Paul Motian and percussionists Guilherme Franco and Danny Johnson are superb in ensembles and guitarist Sam Brown guests on two selections. The emphasis is on the band*s sound and Jarrett*s rich melodies, he contributed eight originals to this enjoyable modern set.

Scott Yanow
All Music Guide



This set by the Keith Jarrett Quintet (with the leader on piano, soprano and flute, tenor-saxophonist Dewey Redman, bassist Charlie Haden, drummer Paul Motian and percussionist Guilherme Franco) contains three of Jarrett*s originals. The main selection, the 21-minute “Death and the Flower,” develops logically from atmospheric sounds to intense group improvising and back again, it is the main reason to acquire this CD.

Scott Yanow
All Music



Recorded at the same sessions as Death and the Flower , this out-of-print LP, whose music has not yet been reissued on CD, features pianist Keith Jarrett*s exciting but underrated American group of the 1970s, a quintet with tenor saxophonist Dewey Redman , bassist Charlie Haden , drummer Paul Motian and percussionist Guilherme Franco . The group (with Jarrett occasionally switching to flute and Redman to the bizarre-sounding musette) is in typically exploratory, yet often melodic form on lengthy renditions of four of Jarrett*s inside/outside originals.


Scott Yanow
All Music Guide

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