El Juicio (The Judgement) is an album by pianist Keith Jarrett recorded in 1971 and released in 1975. On four days in July and one in August 1971, Jarrett went into the Atlantic Recording Studios with his trio (Charlie Haden and Paul Motian), plus Dewey Redman on tenor saxophone, and produced enough music for three albums: The Mourning of a Star (released in 1971), El Juicio (The Judgement) and Birth (released in 1972). Accordingly, the 1971 sessions mark the emergence of what would be later called Jarrett's "American quartet."

Mysteries: The Impulse Years 1975-1976 is a four CD collection of the Keith Jarrett albums Mysteries, Shades, Byablue and Bop-Be. The set was released in 1996 by Impulse! Records and in 1997 by Aris / MCA. Previously unreleased alternate takes are present on each disc. The music was performed by Jarrett and his affectionately-titled 'American Quartet', composed of Charlie Haden, Paul Motian, and Dewey Redman. Guilherme Franco contributed additional percussion to Mysteries and Shades.

Live Funkhaus, Hamburg, Germany, June 14, 1972.

This compilation is 3 plus hours of stuff (42 tracks), and all in good quality, chosen from his ECM career back to the mid-70s. I would call it the "highly accessible Jarrett" as it does not include any of the thorniest stuff from the solo concerts. It's mostly the Trio, the European quartet, and some encore "blues" excerpts from the solo concerts.

Captured live at Tokyo’s Suntory Hall, renowned piano virtuoso Keith Jarrett performs some of his most memorable and haunting standards before an enthusiastic crowd. Performed entirely solo, these numbers clearly reveal the breadth and power of his immense musical skills. Recorded live at Suntory Hall, Tokyo on April 14, 1987.

The double album Sleeper contains a previously unreleased live concert by Keith Jarrett's European quartet from the '70s, recorded at Tokyo's Nakano Sun Plaza on April 16, 1979. Together with saxophonist Jan Garbarek, bassist Palle Danielsson, and drummer Jon Christensen, Jarrett performs seven of his own compositions: "Personal Mountains," "Innocence," "So Tender," "Oasis," "Chant of the Soil," "Prism," and "New Dance" the latter song being the shortest here at seven minutes, while "Oasis" clocks in at over 28 minutes!

The group colloquially known as “the Standards trio” has made many outstanding recordings, and After The Fall must rank with the very best of them. “I was amazed to hear how well the music worked,” writes Keith Jarrett in his liner note. “For me, it’s not only a historical document, but a truly great concert.” This performance in Newark, New Jersey in November 1998 marked Jarrett’s return to the concert stage after a two year hiatus. Joined by improvising partners Gary Peacock and Jack DeJohnette, he glides and soars through classics of the Great American Songbook including “The Masquerade Is Over”, “Autumn Leaves”, “When I Fall In Love” and “I’ll See You Again”.

Keith Jarrett’s account of Carl Philipp Emanuel Bach’s Württemberg Sonatas is a revelation. “I’d heard the sonatas played by harpsichordists, and felt there was room for a piano version,” says Jarrett today. This outstanding recording, made in 1994 and previously unreleased, finds the pianist attuned to the expressive implications of the sonatas in every moment. The younger Bach’s idiosyncrasies: the gentle playfulness of the music, the fondness for subtle and sudden tempo shifts, the extraordinary, rippling invention…all of this is wonderfully delivered. The fluidity of the whole performance has a quality that perhaps could be conveyed only by an artist of great improvisational skills. In Jarrett’s hands, CPE’s exploration of new compositional forms retains the freshness of discovery. Recorded at Keith Jarrett’s Cavelight Studio in May 1994, the album includes liner notes by Paul Griffiths.

This is the Keith Jarrett Trio's – featuring bassist Gary Peacock and drummer Jack DeJohnette – elegy for their former employer Miles Davis, recorded only 13 days after the maestro's death. The lonely figure in shadow with a horn on the cover contrasts with the joyous spirit of many of the tracks on this CD, yet there is still a ghostly presence to deal with – and in keeping with Miles' credo, Jarrett's choice of notes is often more purposefully spare than usual. There is symmetry in the organization of the album, with "Bye Bye Blackbird" opening and the trio's equally jaunty "Blackbird, Bye Bye" closing the album, and the interior tracks immediately following the former and preceding the latter are "You Won't Forget Me" and "I Thought About You." The centerpiece of the CD is an 18-and-a-half-minute group improvisation, "For Miles," which after some DeJohnette tumbling around becomes a dirge sometimes reminiscent of Miles' own elegy for Duke Ellington, "He Loved Him Madly." As an immediate response to a traumatic event, Jarrett and his colleagues strike the right emotional balance to create one of their more meaningful albums.

Recognised as one of the most accomplished musicians of his generation, Carsten Dahl pays a mesmerising tribute to the legendary Keith Jarrett on 'The Solo Songs of Keith Jarrett'.

Keith Jarrett’s account of Carl Philipp Emanuel Bach’s Württemberg Sonatas is a revelation. “I’d heard the sonatas played by harpsichordists, and felt there was room for a piano version,” says Jarrett today. This outstanding recording, made in 1994 and previously unreleased, finds the pianist attuned to the expressive implications of the sonatas in every moment. The younger Bach’s idiosyncrasies: the gentle playfulness of the music, the fondness for subtle and sudden tempo shifts, the extraordinary, rippling invention…all of this is wonderfully delivered. The fluidity of the whole performance has a quality that perhaps could be conveyed only by an artist of great improvisational skills. In Jarrett’s hands, CPE’s exploration of new compositional forms retains the freshness of discovery. Recorded at Keith Jarrett’s Cavelight Studio in May 1994, the album includes liner notes by Paul Griffiths.

Unlike the other two Keith Jarrett trio recordings from January 1983, this collaboration with bassist Gary Peacock and drummer Jack DeJohnette does not feature standards. The trio performs the 30-minute "Flying" and a 6-minute "Prism," both of them Jarrett originals. "Flying," which has several sections, keeps one's interest througout while the more concise "Prism" has a beautiful melody. It is a nice change to hear Jarrett (who normally plays unaccompanied) interacting with a trio of superb players.

Keith Jarrett does not actually play on this CD; rather, he composed three angst-ridden pieces of varying lengths for string orchestra, over which Jan Garbarek improvises on tenor and soprano saxes. The concept is not unlike that of Stan Getz's Focus, but this music is far more static, downcast, and free of the pulse of jazz. As was characteristic of his writing then, Jarrett's string parts are mostly turgid and thick-set, indulging in weird, sliding microtones on "Windsong," weighted down by some kind of emotional burden.