Keith Jarrett recommendation

How does it compare to "La Scala"? which just happens to be my favourite of Jarrett's solo works.

Spindrifter, you may have also overlooked a title on A&M Horizon, one of my all time favorites.

The title is "Closeness Duets" and Keith is accompanied by Ornette Coleman, Alice Coltrain and Paul Motain. It is a terrific recording and an extremely quiet pressing on both of my LP copies.

I plan on following your suggestion. I am now on the lookout for "Staircase."

I am also a long time fan( i actually spent a few days w/ him in 1978)-
You probably know 'facing you' but if not it is very special and also a duo w/Jack Dejohnette from the same time (early 70's) called 'Rutya and Daitya'
I could go on for a long time.....
adam

Staircase has always been my favorite Jarrett release, although Facing You and My Song are close. It seems to me as a pianist that Jarrett visits another place than he seems to in his live gigs (ie, Koln Concert), not so much playing for the crowd (despite his vehement denials) and even his vocal histronics seem more restrained.

Side 2 (of 4), which is entitled "Hourglass" is one of my two or three favorite jazz piano works I've heard to date. Bought it on ECM vinyl when it was released way back when. Just breathtaking. Whenever I get the feeling that:

1) the piano has nothing left to yield, or
2) keyboards (ie. my Kurzweil 2600) offer much more varied timbres, or
3) I want to pick up another instrument that allows more direct contact with the music

Hourglass reminds me the piano is indeed "the entire orchestra in one instrument", as one composer once commented.

Sorry to get so worked up. Staircase/Hourglass/Sundial/Sand is a very special release indeed.

Ok, I couldn't resist. Here's the last paragraph of Rolling Stone's (!) review of Staircase:

"Jarrett reaches a peak of eloquence in the second section of "Hourglass," where a wandering nocturnal theme, two parts Fauré to one part Bill Evans, gradually kaleidoscopes into a fragile, repetitive motif, then returns to its original form like the folding and opening of a flower. This piece alone reaffirms Jarrett's position as contemporary music's foremost elegist. (RS 251)"