Questar - Keith Jarrett - Solo Guitar - Jake Reichbart

[Jake Reichbart]

What a gorgeous tune, took a while to figure this one out, the improv is just the tip of the iceberg for a lifetime of possibilities. If you're not familiar with it, do yourself a favor and check out the original...!

[Jimmy blue note]

Beautiful reading of a gorgeous piece, one that doesn't get nearly enough attention. Got to admit it's a whole lot easier to play this piece on piano, especially as a chord solo. Really nice playing Jake!
That whole album is full of such rich and unique tunes that should be in the book of everyone's standards. Country is another really nice one that works nicely as a guitar and ensemble piece.
Did you know Keith was quite a good guitarist too? When Mick was at Berklee (at the same time as John Abercrombie), all three of them were quite adept at piano and guitar. Mick and John went on to make their mark on the guitar world, Keith became the feared and undeniable force of nature in the piano world. He was doing things even as a student that stunned students and faculty alike.
Back in those days, Gary Burton was like the director in chief and the lydian mode reigned supreme. You can hear it in this piece. Thanks for posting this Jake. I thoroughly enjoyed it.

[Jake Reichbart]

Thanks very much! And no, I did not know he played guitar, are there recordings?? And funny you should mention "Country" because... :-)

Beautiful reading of a gorgeous piece, one that doesn't get nearly enough attention. Got to admit it's a whole lot easier to play this piece on piano, especially as a chord solo. Really nice playing Jake!
That whole album is full of such rich and unique tunes that should be in the book of everyone's standards. Country is another really nice one that works nicely as a guitar and ensemble piece.
Did you know Keith was quite a good guitarist too? When Mick was at Berklee (at the same time as John Abercrombie), all three of them were quite adept at piano and guitar. Mick and John went on to make their mark on the guitar world, Keith became the feared and undeniable force of nature in the piano world. He was doing things even as a student that stunned students and faculty alike.
Back in those days, Gary Burton was like the director in chief and the lydian mode reigned supreme. You can hear it in this piece. Thanks for posting this Jake. I thoroughly enjoyed it.

[Jimmy blue note]

No, no recordings that I know of. Mick would tell me stories of their time at Berklee, when the school was located in one small building on Newbury Street. There were more piano students, guitar was a kind of one room department consisting of 6 students and the school thought "What are we going to do with these guitar kids?"
At that time John and Mick were more rock'n roll guitarists than anything else (wasn't everyone with a guitar back then?) and Mick said "It was a choice between whether I'd become a piano player or figure out something to do with the guitar." Can you imagine that? John Abercrombie was very comfortable on the piano so it was a decision for him too. But in the end, they went with being pioneers on the guitar, leaving Keith to reign in the piano department, and the rest is history.
Jack Peterson was the one who gathered those 6 charter guitar students and made them into the Berklee guitar department. From Mick's accounts, lessons with Jack were often walking into Jack's office and asking "What are you working on today?" and a strong spirit of mutual discovery and guided curiosity propelled all of them to create the shape of modern guitar.
All this time Keith was a star piano student and Jack DeJohnette was That Monster in the drum department who's going places.
What a time, eh?

[Woodstove]

Thanks very much! And no, I did not know he played guitar, are there recordings?? And funny you should mention "Country" because... :-)

absolutely gorgeous. Crystal clear flowing like a beautiful stream out in the country somewhere.

[Jake Reichbart]

Thanks for the insight!

No, no recordings that I know of. Mick would tell me stories of their time at Berklee, when the school was located in one small building on Newbury Street. There were more piano students, guitar was a kind of one room department consisting of 6 students and the school thought "What are we going to do with these guitar kids?"
At that time John and Mick were more rock'n roll guitarists than anything else (wasn't everyone with a guitar back then?) and Mick said "It was a choice between whether I'd become a piano player or figure out something to do with the guitar." Can you imagine that? John Abercrombie was very comfortable on the piano so it was a decision for him too. But in the end, they went with being pioneers on the guitar, leaving Keith to reign in the piano department, and the rest is history.
Jack Peterson was the one who gathered those 6 charter guitar students and made them into the Berklee guitar department. From Mick's accounts, lessons with Jack were often walking into Jack's office and asking "What are you working on today?" and a strong spirit of mutual discovery and guided curiosity propelled all of them to create the shape of modern guitar.
All this time Keith was a star piano student and Jack DeJohnette was That Monster in the drum department who's going places.
What a time, eh?

[Jake Reichbart]

Appreciate it! :-)

absolutely gorgeous. Crystal clear flowing like a beautiful stream out in the country somewhere.

[rictroll]

Keith plays guitar on No End (ECM):

Recorded at his home studio in 1986, “No End” illuminates hitherto undocumented aspects of Keith Jarrett’s music. He is heard here on electric guitars, electric bass, drums and percussion, overdubbing tribal dances of his own devising: “Somehow something happened during these days in the 80s that won’t ever be repeated,” he writes in his liner notes. “There was really, to my knowledge, no forethought or composition – in the typical sense – going on; just a feeling or a rhythmic idea or a bass line concept or melody. None of this was written down.” On the instrumentation: “Drums were always with me in some way,” Jarrett reflects. “I have always been drawn to instruments that you touch directly, without a mechanism in between. Therefore, I cannot say that I have ever loved the piano as much as the drums or guitar.” With, primarily, these instruments (piano this time has only a cameo role) Jarrett has shaped one of his most unusual albums.