Record of the Day: Keith Jarrett, “Life Between the Exit Signs”

Keith Jarrett
“Life between the Exit Signs” (Cd Atlantic Jazz 8122-73756-2)

Jarrett’s first solo album, “Life between the Exit Signs” from 1968, bears imprinted on it all the characteristics that will further develop during his vast discography; the extraordinary technical ability that saw him already in perfect command of the instrument at only twenty-two years old, the compositional style immediately recognizable in themes such as “Lisbon Stomp” and “Love N°1”, the impressive melodic-harmonic knowledge, the innate ability to move through very different stylistic panoramas from bop to free with the same skill, the respect for the great American tradition (in this case embodied by a splendid cover of Cole Porter’s “Everything I Love”) that intersects with the desire to continually explore new paths without even the slightest concession to the market; even from a personal point of view Jarrett

it proves to be very similar to today, just read his liner notes, as laconic as they are intolerant of convenient labels.

The choice of stylistically very different colleagues such as Charlie Haden (double bass) and Paul Motian (drums) testifies
in turn of Jarrett’s love for different worlds, as if he wanted to mix the path of Bill Evans and that of Ornette Coleman, giving life to an alternative and parallel path to the latter. The stylistic maturity that Jarrett had already given ample proof of in Charles Lloyd’s quartet finds in this solo album a further confirmation in the use of the piano touch, dynamics, phrasing, improvisational ability and naturalness of interplay with the other musicians, who are also in great shape and protagonists of superfine solos.

Not much considered by fans (who knows why), this album deserves a serious critical re-evaluation not only for
its prophetic character on what Jarrett would achieve in the future, but by virtue of the great musical beauty contained in it through compositions that are still fresh and engaging today; music overflowing with energy in “Long Time Gone” (with a solo that in its fury overflows from the keys to land inside the strings) and Love N°2, but also capable of beautiful melodic oases such as “Margot” whose theme suffused with tender lyricism remains one of the most successful compositions of the musician from Allentown.

Carlo Boccadoro, composer and conductor, was born in Macerata in 1963. He lives and works in Milan. He collaborates with soloists and orchestras in different parts of the world. He is the author of numerous books on musical subjects.

This text is taken from “Lunario della musica: Un disco per ogni giorno dell’anno” https://www.amazon.it/Lunario-della-musica-giorno-dellanno/dp/8806188585 published by Einaudi, courtesy of the author and the publisher.