Three Players Finding the Groove Early
Charlie Haden's bass gives Jarrett's first session as a leader its sturdy spine.
Charlie Haden is the reason this record hangs together. Recorded at Atlantic Recording Studios in New York on May 4, 1967, Life Between the Exit Signs was Keith Jarrett's first album as a leader, and Haden's bass carries much of the weight. His lines are steady, melodic, and unhurried, giving Jarrett room to stretch out without ever losing the harmonic ground underneath him.
Paul Motian, on drums, completes the trio that makes this session notable. The first time the three of them played together on record, the chemistry was already there. Listen to the opener, "Lisbon Stomp," and you hear a bop-inflected melody that sounds, in hindsight, like the Jarrett we later came to know: quick, bright, a little rocky in its flourishes. It is a fun, straightforward performance rather than a statement of grand intent.
As a placement in Jarrett's catalogue, this is an early document rather than a peak. It shows where he came from and hints at where he was going, but it is not the record most listeners should start with. Encyclopedia of Popular Music gave it two out of five, which is a fair signal that it is for committed fans and those curious about the early years. If you want the trio at its most assured, go to later sessions; if you want to hear the foundation being laid, this is the place.
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