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Keith Jarrett Discography
 0  0 1962 (Decca DL 4241)
0 0 1966/1 (Limelight LM 82034)
0 0 1966/3 (Atlantic SD 1586)
3 8.5 1966/4 (Atlantic LP 1473)
0 0 1966/6 (Atlantic SD 1500)
0 0 1967/1 (Atlantic LP 1481)
0 0 1967/2 (Atlantic LP 1493)
2 5 1967/3 (Vortex LP 2006)
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1 5 1967/4 (Atlantic SD 1696)
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0 0 1967/5 (Atlantic SD 1571)
0 0 1967/6 (The Jazz Collection (It) JCD 03)
0 0 1967/7 (Supraphon (Cz) SUA 15987)
0 0 1968/1 (Vortex LP 2008)
2 7 1968/2 (Vortex LP 2012)
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0 0 1968/3 (Vortex 45-303)
0 0 1968/4 (Atlantic SD 1519)
0 0 1969; a 2-CD compilation of early work, from the Jazz Messengers and Charles Lloyd to the trio with Haden and Motian
9 7.7 1970/1 (Columbia KG 33236) Jarrett plays electric organ on "Honky Tonk", an edit of a track available in full on The Complete Jack Johnson Sessions.
2 7 1970/2 (Columbia KC2 36472) A 1980 release of previously unavailable recordings. Jarrett plays the Fender-Rhodes piano on "Konda", an edit of a track available in full on The Complete Jack Johnson Sessions.
6 8.5 Jarrett plays electric organ on "Honky Tonk", Fender-Rhodes piano on "Konda"
1 7 Released 1990. Mainly a collection of previously issued recordings; includes some of the above cited Jack Johnson outtakes.
3 7.5 1970/3 (Columbia G 30954) Largely composed of heavily-edited tracks from the Cellar Door Sessions.
5 6 Recorded December 1970 in Washington, DC. Released 2005. Complete recordings of live sessions that produced the live segments of Live-Evil.
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1 6 1970/4 (Columbia G 30038) Double LP issued in 1971, recorded June 1970, taken from four consecutive nights at the Fillmore East.
0 0 1970/5 (Atlantic SD 1577) 1971; Burton receives top billing at this early date, but all of the compositions except one are Jarrett's. Jarrett plays some electric piano.
0 0 1971/4 (ECM (G) 1021) 1972; an album of duets with Jack DeJohnette, both fresh from Miles Davis' band and demonstrating his influence. In addition to acoustic piano, Jarrett plays electric piano and organ, the only time he would ever do so on an ECM recording.
0 0 1971/5 (Atlantic SD 1596)
0 0 1971/6 (Atlantic SD 1673)
1 4 1971/7 (Atlantic SD 1612)
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1 7 1971/8 (Columbia KG 31580) 1972; Jarrett's only album for Columbia, an ambitious, wide-ranging session that includes rock-influenced guitar by Sam Brown as well as string and brass arrangements
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3 4 1971/15 (ECM (G) 1017) 1971; solo piano studio recording
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0 0 1972/1 (CTI 6020, CTI/Associated ZK 40927)
2 7 1972/3 (CTI 6018)
1 7 1972/4 (ECM (G) 1028)
3 6 1973/1 (Impulse AS 9240) 1973; recorded live at the Village Vanguard in New York City; his first album on Impulse! Records
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0 0 1973/2 (Impulse IMPD 5-237) 1973; The albums Fort Yawuh, Treasure Island, Death and the Flower and Backhand, with outtakes.
0 0 1973/4 (ECM (G) 1033/34) 1973; short pieces for solo piano, strings, and various chamber ensembles, including a string quartet, a brass quintet, and a piece for cellos and trombones. This collection demonstrates a young composer's affinity for a variety of classical styles, with varying degrees of success.
3 7 1973/5 (ECM (G) 1035/37) 1973; recorded in Bremen and Lausanne these concerts were originally released as a three-LP set
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0 0 1974/1 (Impulse AS 9274) 1974
4 8 1974/4 (ECM (G) 1050) 1974; European Quartet
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4 6 1974/5 (ECM (G) 1049) 1974
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2 6 1974/6 (Impulse AS 9301) 1974
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0 0 1974/7 (Impulse AS 9305) 1974
33 8.7 1975/1 (ECM (G) 1064/65) 1975; one of the best-selling jazz albums of all time
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2 5.5 1975/2 (Impulse AS 9315) 1975
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0 0 1975/3 (ECM (G) 1069) 1975
2 7.5 1975/4 (ECM (G) 1070) 1975; Luminessence (1974) and Arbour Zena (1975) both combine composed pieces for strings with improvising jazz musicians, including Jan Garbarek and Charlie Haden. The strings here have a moody, contemplative feel that is characteristic of the "ECM sound" of the 1970s, and is also particularly well-suited to Garbarek's keening saxophone improvisations. From an academic standpoint, these compositions are dismissed by many classical music aficionados as lightweight, but Jarrett appeared to be working more towards a synthesis between composed and improvised music at this time, rather than the production of formal classical works. From this point on, however, his classical work would adhere to more conventional disciplines.
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2 5.5 1975/5 (Impulse ASD 9322) 1975
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1 4 1976/1 (Horizon 11)
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1 2 1976/2 (ECM (G) 1085)
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