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Pianist, composer, and bandleader Keith Jarrett is one of the most prolific, innovative, and iconoclastic musicians to emerge from the late 20th century. As a pianist (though that is by no means the only instrument he plays), he literally changed the improvisation conversation by introducing a new aesthetic in solo concerts -- complete spontaneous creation from beginning to end. He has recorded over 100 albums as a leader in jazz and classical music. His 1967 leader debut, Life Between the Exit Signs, led to playing with Miles Davis for a time. Jarrett issued a host of albums for Atlantic, Columbia, and Impulse including The Mourning of a Star, Expectations, and Bop-Be. He signed to ECM for 1972's solo piano studio offering Facing You. 1975's improvised The Köln Concert is one of the best-selling jazz piano albums ever. Jarrett's dozens of albums for ECM offer variety: International trios and quartets, duos and orchestral offerings, and solo concerts. In 1981 he debuted the "standards trio" with Gary Peacock and Jack DeJohnette, and the three worked together for more than 30 years. He released several albums of classical piano recitals including works by Bach and Shostakovich. He returned to improvised solo recitals with 1997's La Scala. During the 21st century, Jarrett continued performing solo and releasing archival material, including 2011's Rio, 2015's Creation, and 2016's A Multitude of Angels (a box recorded in 1996). Though a pair of strokes in 2018 left him unable to play, Jarrett continued to release archival concerts such as 2022's The Bordeaux Concert, a set recorded during 2016's European tour and 2023's Carl Philipp Emanuel Bach, a 1994 recording of the Württemberg Sonatas.

Jarrett was born May 8, 1945, in Allentown, Pennsylvania. At the age of three he began playing piano. He undertook the study of classical music at age eight, and at 15 he studied formal composition before moving to Boston to study briefly at the Berklee College of Music. Still in his teens, Jarrett intended to further his academic work in Paris before deciding to move to New York in 1964 and become a jazz musician.

He entered the city's vibrant scene by sitting in with veteran and aspiring players at clubs, including the Village Vanguard. His first touring gig was with Art Blakey's New Jazz Messengers, where he remained until 1966. His lone recording with that band -- which also featured trumpeter Chuck Mangione -- was Buttercorn Lady, recorded live at the Lighthouse in Hermosa Beach. Jarrett joined Charles Lloyd's famed quartet in 1966. That band, which reflected the variety of changes taking place in jazz and popular music in general, achieved global success as both a recording and touring entity.

He left the group in 1968 and issued his first solo recording, Restoration Ruin, on the Vortex label. He played everything on the album including soprano saxophone, harmonica, drums, and guitar in addition to piano; he even sang. The effort is mainly considered a curiosity in his catalog because it wasn't a jazz album, but a folk-rock recording. Regardless of how Jarrett regards it today, it stands as a brave undertaking from a young musician and paints an interesting view of his early thoughts in lieu of what he would accomplish later. Appearing the same year, he recorded Life Between the Exit Signs for Atlantic, where he led a trio whose rhythm section consisted of bassist Charlie Haden and drummer Paul Motian. This group -- later a quartet with the addition of saxophonist Dewey Redman -- would record together for 11 years and attain the status of jazz legends for their dynamic, groundbreaking interplay and improvisation.

Jarrett played organ and electric piano with Miles Davis between 1970 and 1971, which resulted in Live at the Fillmore and Live/Evil. His work with Davis would also surface on the trumpeter's 1974 album Get Up with It and was beautifully documented on the box set Miles Davis: The Cellar Door Session 1970, which was issued in 2005. Jarrett also appeared on other artists' albums during this period, including Airto's Free, psychedelic pop duo Barbara & Ernie's Prelude To..., and soul singer Donal Leace's self-titled offering from 1972. Jarrett and Gary Burton issued their self-titled recording on Atlantic in 1971, the same year his trio released The Mourning of a Star.

The pianist briefly signed to Columbia, releasing one enduring album for the label, Expectations, in 1972; it featured his trio with guitarist Sam Brown and drummer/percussionist Airto. The year also proved fruitful for two other reasons. The first was Facing You, Jarrett's first solo piano recording for Manfred Eicher's young ECM label, an association that would become symbiotic by the end of the decade. Redman joined Jarrett's group in late 1971, and the first offering by the larger band was Birth, issued by Atlantic in 1972. The band also recorded for Impulse! during this time, issuing the highly regarded Fort Yawuh (1973), Treasure Island (1974), Death and the Flower and Backhand (1975), Mysteries (1976), ByaBlue (1977), and Bop-Be (1978). El Juicio (The Judgement) also appeared on Atlantic in 1975.

Jarrett's horizons were broadening considerably in the early '70s, and his association with ECM was deepening. While 1972 saw the release of Ruta and Daitya, a duet album with Jack DeJohnette, 1973 offered evidence of what would become iconic in the decades to come: the improvised Solo Concerts: Bremen & Lausanne. In 1975, Jarrett's double-live solo piano album The Köln Concert was released; its warmth, accessibility, and immense and enduring popularity have made it one of the best-selling solo piano recordings in jazz history. His other solo piano works for ECM include Staircase, the ten-album Sun Bear Concerts, Moth and the Flame, Concerts, Paris Concert, Dark Intervals, Vienna Concert, La Scala, Carnegie Hall Concert, and Rio.

Jarrett began recording with a European group in the '70s, the second of his three groups that would become legendary. His European quartet included saxophonist Jan Garbarek, bassist Palle Danielsson, and drummer Jon Christensen; their debut, Belonging, appeared in 1974. Simultaneously, Jarrett remained busy with his American quartet and with recording experimentation. In the Light, which was released in 1974, was a double album that showcased his interest in composing modern classical music. His compositions were wide-ranging; among them were a string quartet, a brass quintet, and "Crystal Moment (Piece for Four Celli and Two Trombones)." He also recorded a pair of albums co-led with Garbarek, Luminescence (1975), where the pair was aided by an orchestral string section, and the popular Arbour Zena, which included Haden on bass as well as chamber strings. In 1976, the provocative Hymns/Spheres, a double album of improvisations played on an enormous 18th century organ in the Benedictine Abbey Ottobeuren, appeared on ECM.

The pianist's European quartet issued My Song in 1978, an album that brought more conservative jazz fans back to Jarrett's table, especially as it was surrounded by the releases of Bop-Be and The Survivor's Suite, the first of two releases by his American quartet to appear on ECM. That band's final album together, the live double album Eyes of the Heart, was released in 1979.

Jarrett kicked off the '80s with Celestial Hawk: For Orchestra, Percussion and Piano, recorded at Carnegie Hall. This work wed his instinctual improvisational discipline on the piano to his formal compositional abilities in both vanguard classical music and jazz. That year, his European quartet also released the live Nude Ants -- recorded at the Village Vanguard -- and Sacred Hymns, a solo piano album of compositions by metaphysical philosopher/musician Georges Ivanovitch Gurdjieff.

In 1983, Jarrett began working in a trio with bassist Gary Peacock and drummer Jack DeJohnette. It was the beginning of an association that has lasted ever since. Their initial session produced three albums: Standards, Vol. 1 and Vol. 2, and Changes (the last a set of free improvisations). Throughout the decade they alternated between recording standards and freely improvised sets, among them 1986's Standards Live and 1989's Changeless.

Jarrett also cut two deeply personal albums in the '80s. In 1986, Spirits, a double album, featured him playing piano, flute, recorder, soprano saxophone, guitar, and percussion. Another double, Book of Ways from 1987, was completely performed on the clavichord.

In 1988, Jarrett began recording canonical classical music. His first release was Bach's Das Wohltemperierte Klavier Buch I, followed by his Goldberg Variations the following year. But he hadn't abandoned jazz. Jarrett closed the decade with records by his European quartet in Personal Mountains, and by his American trio with Changeless, in 1989.

While his first album of the '90s was the solo Paris Concert, the trio was also busy touring. They stopped briefly to record Bye Bye Blackbird in 1991 as a memorial to Miles Davis. That said, Jarrett spent most of the decade's first half recording classical music. These albums included collections of Handel and Bach sonatas -- both with Michala Petri playing recorder: his award-winning Shostakovich: 24 Preludes and Fugues Op. 87 in 1992, Bach's French Suites in 1993, and the composer's Bach: 3 Sonaten für Viola da Gamba und Cembalo with violist Kim Kashkashian in 1994. He also recorded W.A. Mozart Piano Concertos K. 467, 488, 595 Masonic Funeral Music K. 477 & Symphony in G Minor K. 550 with conductor Dennis Russell Davies and the Stuttgart Symphony, which remained unreleased until 2004.

At the Deer Head Inn with Peacock and DeJohnette also appeared in 1994. A six-CD box set entitled Keith Jarrett at the Blue Note: The Complete Recordings, was released in 1995, documenting a three-night stand by the trio in June of 1994.

While on tour with the trio in Europe during 1996, Jarrett became ill with what was diagnosed as chronic fatigue syndrome. He battled the disease -- caused by an infection from parasitic bacteria -- for three years. While he recovered, ECM issued the 1995 solo concert La Scala in 1997, as well as the trio document Tokyo '96 in 1998. During his illness in 1997, Jarrett gathered his strength and recorded the intimate Melody at Night, With You, in his home studio. It is a solo piano offering of short, straightforward interpretations of standards, ballads, folk songs, and a lone original; it is the most intimate recording in his oeuvre, and unlike anything else in his catalog. The album was released in 1999, the year he had recovered enough to begin touring again with his trio. Jarrett's first release of the 21st century, in fact, was Whisper Not, a collection of standards recorded on that tour.

Over the next four years, the trio toured and recorded shows. ECM issued several albums of them, including standards recordings such as Up for It and The Out of Towners, as well as Inside Out and Always Let Me Go -- the latter two shows consist of freely improvised music. In 2007, My Foolish Heart: Live at Montreux appeared, commemorating the trio's 25th anniversary. The stellar solo piano effort The Carnegie Hall Concert, wherein the pianist created new rules for himself as a live improviser, also appeared that year. In 2008, The Cure was released. It was a prime live standards gig by the trio from 1990 that had been sitting in the vault.

In 2009, the Paris/London solo concerts appeared, followed in 2010 by a duet recording between the pianist and Haden entitled Jasmine. In 2011, Rio was released shortly after the concert took place -- an anomaly in Jarrett's career. In 2012, ECM once more dug into its vaults and released Sleeper: Tokyo, April 16th, 1979, a previously unissued date by Jarrett's European quartet. His trio recorded at the Luzern Concert Hall in July of 2009; the concert was released as Somewhere in May of 2013. In November of that year, ECM released No End, an archival home studio recording from 1986, on which he played all instruments, including piano, electric guitars, bass, tablas, recorder, and drums; it was followed in December with the complete reissue Concerts: Bregenz München, a three-disc set comprising two solo piano concerts from 1981. In June of 2014, more standards from the 2007 duet sessions with Haden that yielded Jasmine were released as Last Dance.

For the occasion of the pianist's 70th birthday in May of 2015, ECM released two albums simultaneously: one was an orchestral classical recording of the pianist performing Barber's Piano Concerto and Bartók's Piano Concerto No. 3 with different orchestras. The second was a solo piano effort titled Creation. Departing from his usual practice of issuing complete concert recordings, this set offered handpicked and carefully sequenced selections from Jarrett's performances in Tokyo, Toronto, Rome, and Paris. He followed this release in the fall of 2016 with the four-disc box A Multitude of Angels. This set documented his final four solo performances in 1996 in the cities of Modena, Ferrara, Torino, and Genova, before he was forced into hiatus to recover from chronic fatigue syndrome. The year 2018 saw the release of La Fenice, a double album documenting his solo piano concert at the Gran Teatro la Fenice in Venice, Italy, from July 2006. The album found the pianist channeling his inspirational flow into a suite of eight spontaneously created pieces that referenced everything from blues to vanguard dissonance. In addition, it offered readings of the traditional "My Wild Irish Rose," the standard "Stella by Starlight," and a tender new reading of the pianist's own "Blossom" for encores. The release of La Fenice coincided with Jarrett making history as the first jazz musician to receive the coveted Golden Lion for Lifetime Achievement at the International Festival of Contemporary Music of the Biennale di Venezia. The award was previously presented to such contemporary composers as Luciano Berio, Pierre Boulez, György Kurtág, Sofia Gubaidulina, and Steve Reich.

Jarrett played at Carnegie Hall in February of 2017. It went so well he thanked the audience for "bringing me to tears," and rescheduled for the following March, but abruptly canceled the performance and subsequent tour, citing "health issues." In September of 2020, during an interview to promote the October release of the archival Budapest Concert from 2016, he told the New York Times' Nate Chinen that he canceled his tour because he'd suffered two strokes, one in February of 2018 and another in May. They left him walking with the aid of a cane, and completely unable to use his left hand, making it impossible to perform.

During his recuperation, Jarrett teamed up with ECM to explore reissuing his many archived shows. In 2022, the label released The Bordeaux Concert, which was recorded during his 2016 tour of Europe. Another archival recording, Carl Philipp Emanuel Bach, arrived the following year. Recorded at Jarrett's Cavelight Studio in 1994, it featured his takes on Carl Philipp Emanuel Bach's Württemberg Sonatas. ~ Thom Jurek

A sophisticated, forward-thinking jazz bassist, Gary Peacock was a subtle yet distinctive musician whose intuitive, sympathetic ear for group interplay found him crossing from straight-ahead standards to avant-garde free jazz. While his intellectual curiosity drew him to such wide-ranging pursuits as biology and Eastern philosophy, Peacock's immense musical talents kept him at the epicenter of progressive jazz and creative improvisation for more than six decades. He began recording with saxophonist Bud Shank and others during the late 1950s. His first engagement with the '60s "new thing" was on the 1963 Prince Lasha-Sonny Simmons date Cry! He worked with both Gil Evans and Bill Evans in 1964, followed by a stint in the Albert Ayler quartet that netted Ghosts, Spirits Rejoice!, and Spiritual Unity. His long association with ECM Records began in 1970 with the simply titled Paul Bley with Gary Peacock. Peacock was prolific during the '70s, playing on key recordings for Japanese jazzmen, and working with pianists Bley, Mal Waldron, and Bill Evans. In 1977, he led a trio with Jack Dejohnette and Keith Jarrett for Tales of Another on ECM (which soon evolved into the pianist's long-lived "Standards Trio"), followed by 1979's widely acclaimed (mostly) solo bass offering December Poems. During the '80s, Peacock led several bands and was a member of Jarrett's and Michel Petrucciani's trios. During the century's final decade, Peacock participated in numerous dates -- often as a co-leader -- including duet offerings with guitarists Bill Frisell and Ralph Towner, and as a member of Tethered Moon, with Motian and Masabumi Kikuchi on the now-classic Plays Kurt Weill date. Peacock also participated in several historic sessions including Annette (with Bley and Franz Koglmann), the Jarrett Trio's At the Deer Head Inn, and Nothing Ever Was, Anyway. Music of Annette Peacock, by pianist Marylin Crispell. He remained her collaborator for 2001's Amaryllis and co-headlined Azure in 2013, while also maintaining his membership in Jarrett's group and collaborating extensively with pianist Marc Copland.

Born in Burley, Idaho, in 1935, Peacock grew up in Yakima, Washington, where he took piano lessons starting in elementary school. During his teens, he added drums to his repertoire and played in various local bands. After high school, Peacock briefly attended Westlake School of Music in Los Angeles before being drafted into the Army. Stationed in Germany, the burgeoning pianist continued his musical studies and started his own small jazz ensemble. Serendipitously, when the bassist left his group, Peacock switched to playing bass, a move that would shape the rest of his career.

Discharged from the Army in 1956, Peacock remained in Germany for several months before once again settling in Los Angeles. Back in California, the bassist quickly found work playing with such West Coast luminaries as saxophonists Bud Shank and Art Pepper, as well as guitarists Barney Kessel and Laurindo Almeida.

In 1960, Peacock married vocalist/composer/arranger/lyricist Annette Peacock (née Coleman). A genre-bending artist, Annette would become a highly respected individualist whose songs were often played by her husband and associates. It was also during this period that Peacock befriended pianist Paul Bley while recording trumpeter Don Ellis' 1962 album Essence. A Juilliard graduate and supremely adept musician, Bley would become one of Peacock's closest associates. Later, Bley also formed a creative and romantic partnership with Annette after she and Gary parted ways.

During the early '60s, Peacock relocated to New York City, where he performed with a bevy of big-name artists including saxophonists Jimmy Giuffre and Roland Kirk and pianist George Russell, among others. From 1962 to 1963, he was also a member of pianist Bill Evans' trio, appearing on the album Trio 64 along with another longtime associate, drummer Paul Motian. In 1964, Peacock briefly replaced bassist Ron Carter for several live dates in trumpeter Miles Davis' quintet. This led to his appearance on drummer and fellow Davis alum Tony Williams' debut as leader, 1964's Life Time.

Coming off his experience with Davis, Peacock began a formative association with saxophonist Albert Ayler. An aggressive free jazz artist, Ayler's music had a profound influence on the Peacocks, who both toured with Ayler in Europe. Though they eventually divorced, both Gary and Annette would continue to explore avant-garde and free improvisation throughout the rest of their careers. With Ayler, Peacock recorded such landmark albums as 1964's Ghosts, 1964's Prophecy, and 1965's Spirits Rejoice. The latter half of the '60s proved to be no less formative for the bassist, who collaborated with Bley on several dates including 1964's Turning Point and 1967's Ballads. Peacock also rejoined Williams for 1965's Spring before rounding out the decade in 1968 with Bley's Mr. Joy.

In 1969, due in part to suffering from a perforated ulcer, Peacock decided to take a hiatus from performing and moved to Japan. While there, he focused his attention on learning the Japanese language, studying Eastern medicine, and investigating Shintoism and Zen Buddhism. Eventually returning to music, Peacock made his debut as a leader with Eastward (1970), which also featured pianist Masabumi Kikuchi and drummer Hiroshi Murakami. While in Japan, he played with saxophonist Sadao Watanabe and pianist Mal Waldron, and recorded for the first time with future Jarrett bandmate drummer Jack DeJohnette.

Returning to the States in 1972, Peacock once again diversified his interests, enrolling in biology courses at the University of Washington. Graduating in 1976, he embarked on a tour of Japan with Bley and drummer Barry Altschul; one of the dates resulted in the concert album Japan Suite. The following year, Peacock released his ECM debut, Tales of Another, which showcased his first outing with both pianist/keyboardist Jarrett and drummer DeJohnette. From 1979 to 1983, Peacock also taught music theory at the Cornish School of the Arts in Seattle.

Beginning in the '80s, Peacock further explored his partnership with Jarrett and DeJohnette with a collaboration that was eventually dubbed the "Standards Trio" due to the group's focus on atmospheric, inventive reworkings of American popular songbook and jazz standards. Included among these are such highly acclaimed albums as Jarrett's Standards, Vol. 1 and Vol. 2 (1983), Changes (1984), Standards Live (1985), Still Live (1986), and Standards in Norway (1989). The '90s also proved to be a fruitful decade for the trio with the release of such albums as The Cure (1990), Tribute (1991), Changeless (1992), and the live date Tokyo '96 (1998). Also during this time, Peacock released a select if steady stream of solo efforts, many of which featured longtime partners Bley and Motian. Included among these are Oracle (1993), Tethered Moon (1993), Just So Happens (1994), Annette (1995), and Mindset (1997).

The following decade also found Peacock returning to his work with Jarrett, appearing on such albums as Inside Out (2001), Always Let Me Go: Live in Tokyo (2002), Up for It: Live in Juan-Les-Pins (2003), The Out-of-Towners (2004), and Yesterdays (2009). A journeyman collaborator, Peacock continued to collaborate with like-minded contemporaries such as pianist Marc Copland, with whom he recorded such albums as New York Trio Recordings, Vol. 1: Modinha (2006) and his own Insight (2009). The bassist also reunited numerous times with drummer Motian for albums such as Amaryllis (2001) and No Comment (2011).

In 2012, Peacock joined forces with saxophonist Lee Konitz, guitarist Bill Frisell, and drummer Joey Baron for Enfants Terribles: Live at the Blue Note. He then paired with pianist Marilyn Crispell for the 2013 duo album Azure. In 2015, Peacock formed yet another trio configuration, this time with Baron and Copland for the ECM date Now This. The same trio followed the set with Tangents two years later. It showcased the group's trademark muscular virtuosity tempered by poetic restraint, animating five originals by Peacock, one by Copland, and two by Baron, as well as readings of two classics associated with pianist Bill Evans: "Blue in Green" and "Spartacus."

In early 2018, ECM issued the archival, previously unreleased double-disc After the Fall from Jarrett's standards trio with DeJohnette and Peacock. Recorded in Newark, New Jersey, in November 1998, it marked the pianist's return to the stage after a two-year hiatus. In 2019, ECM issued When Will the Blues Leave, a document of a live performance captured at the Aula Magna di Trevano in Switzerland during the Not Two, Not One tour in 1999. Gary Peacock died on September 4, 2020 in New York City at the age of 85. ~ Matt Collar

At his best, Jack DeJohnette is one of the most consistently inventive jazz percussionists extant. His style is wide-ranging, and while capable of playing convincingly in any modern idiom, he always maintains a well-defined voice. DeJohnette has a remarkably fluid relationship to pulse. His timing is excellent; even as he pushes, pulls, and generally obscures the beat beyond recognition, a powerful sense of swing is ever-present. His tonal palette is huge as well: No drummer pays closer attention to the sounds that come out of his kit than DeJohnette. He possesses a comprehensive musicality rare among jazz drummers.

That's perhaps explained by the fact that, before he played the drums, DeJohnette was a pianist. From the age of four, he studied classical piano. As a teenager he became interested in blues, popular music, and jazz; Ahmad Jamal was an early influence. In his late teens, DeJohnette began playing drums, which soon became his primary instrument. In the early '60s, the most significant event of his young professional life occurred -- an opportunity to play with John Coltrane. In the mid-'60s, DeJohnette became involved with the Chicago-based Association for the Advancement of Creative Musicians. He moved to New York in 1966, where he played again with Coltrane, and with Jackie McLean. His big break came as a member of the very popular Charles Lloyd Quartet from 1966-1968.

The drummer's first record as a leader was 1968's The DeJohnette Complex. In 1969, DeJohnette replaced Tony Williams in Miles Davis' band; later that year, he played on the trumpeter's seminal jazz-rock recording Bitches Brew. DeJohnette left Davis in 1972 and began working more frequently as a leader. In the '70s and '80s, DeJohnette became something like a house drummer for ECM, recording both as leader and sideman with such label mainstays as Jan Garbarek, Kenny Wheeler, and Pat Metheny.

DeJohnette's first band was Compost; his later, more successful bands were Directions and Special Edition. The eclectic, avant fusion Directions was originally comprised of the bassist Mike Richmond, guitarist John Abercrombie, and saxophonist Alex Foster. In a subsequent incarnation -- called, appropriately, New Directions -- bassist Eddie Gomez replaced Richmond and trumpeter Lester Bowie replaced Foster. From the mid-'70s, Directions recorded several albums in its twin guises for ECM. Beginning in 1979, DeJohnette also led Special Edition, a more straightforwardly swinging unit that featured saxophonists David Murray and Arthur Blythe.

For a time, both groups existed simultaneously; Special Edition would eventually become the drummer's performance medium of choice. The band began life as an acoustic free jazz ensemble, featuring the drummer's esoteric takes on the mainstream. It evolved into something quite different, as DeJohnette's conception changed into something considerably more commercial; with the addition of electric guitars and keyboards, DeJohnette began playing what was essentially a very loud, backbeat-oriented -- though sophisticated -- instrumental pop music. To be fair, DeJohnette's fusion efforts were miles ahead of most others'. His abilities as a groove-centered drummer are considerable, but the subtle colorations of his acoustic work were missed. That side of DeJohnette is shown to good effect in his work with Keith Jarrett's Standards trio, and in his occasional meetings with Abercrombie and Dave Holland in the Gateway trio.

DeJohnette remained a vital artist and continued to release albums such as Peace Time on Kindred Rhythm in 2007. He returned in 2009 with the trio album Music We Are featuring pianist Danilo Pérez and bassist John Patitucci. In 2012, DeJohnette delivered the musically eclectic Sound Travels, showcasing a bevy of collaborations with such artists as Bruce Hornsby, Esperanza Spalding, and Ambrose Akinmusire, among others.

In 2013, DeJohnette was asked by the Chicago Jazz Festival to present a program of his choosing. He gathered together Roscoe Mitchell and Henry Threadgill -- his classmates at Wilson Junior College on the city's South Side -- and Muhal Richard Abrams, whose Experimental Band the three had all played in, and all were members of the AACM. Along with bassist/cellist Larry Gray, the quintet played a festival concert (as well as subsequent dates in several variations). The historic reunion show was released by ECM as Made in Chicago in early 2015.

The drummer's next project was forming a trio with saxophonist Ravi Coltrane and electric bassist/electronicist Matthew Garrison -- the latter the offspring of classic John Coltrane Quartet bassist Jimmy Garrison. DeJohnette had played informally with the younger men for years before forming this band. In 2016, ECM issued the trio's debut, In Movement. It was the first appearance on the label for both bassist and saxophonist.

DeJohnette long made the Hudson Valley his home, and his sense of place has been an important part of his work for decades. To that end, he teamed with guitarist John Scofield, keyboardist John Medeski, and bassist Larry Grenadier -- all of whom live in or near the Hudson Valley -- to record an album that reflected the region's musical geography and creativity. In addition to well-considered originals, the quartet cut a series of covers associated with the region by artists who had lived or had worked there, including Bob Dylan, the Band, Joni Mitchell, and Jimi Hendrix. Issued on the occasion of DeJohnette's 75th birthday, Hudson appeared in June of 2017 and was followed by a tour. Early the following year, Keith Jarrett's longstanding standards trio with the drummer and bassist Gary Peacock, issued the double-disc After the Fall, a live document from November of 1998 that marked the pianist's return to the stage after a two-year hiatus. ~ Chris Kelsey