Keith Jarrett Dark Intervals Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Keith Jarrett Dark Intervals Mp3, Flac, Wma Keith Jarrett Dark Intervals mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Dark Intervals Country: Japan Released: 1991 Style: Contemporary Jazz MP3 version RAR size: 1257 mb FLAC version RAR size: 1733 mb WMA version RAR size: 1546 mb Rating: 4.5 Votes: 460 Other Formats: AIFF WMA MP2 MP4 AA AU APE Tracklist 1 Opening 12:52 2 Hymn 4:56 3 Americana 7:11 4 Entrance 2:54 5 Parallels 4:57 6 Fire Dance 6:51 7 Ritual Prayer 7:10 8 Recitative 11:17 Companies, etc. Record Company – Polydor K.K. Phonographic Copyright (p) – ECM Records GmbH Copyright (c) – ECM Records GmbH Published By – Cavelight Music Recorded At – Suntory Hall, Tokyo Credits Design – Barbara Wojirsch Engineer – Kimio Oikawa Photography By [Cover Photo] – Christian Vogt Piano, Music By – Keith Jarrett Producer – Manfred Eicher Notes Digital recording April 11, 1987 at Suntory Hall, Tokyo. Published by Cavelight Music, BMI/AMRA. Printed in W. Germany. An ECM Production © ℗ 1988 ECM Records GmbH On page 2 of sleeve: "Touch is only possible at the edge of spaces Light is only precious during dark intervals" Contains information sheet and text in Japanese Barcode and Other Identifiers Barcode (Scanned): 4988005079251 Barcode (Text): 4 988005 079251 Label Code: LC 2516 Other versions Category Artist Title (Format) Label Category Country Year ECM 1379, 837 Keith Dark Intervals (LP, ECM Records, ECM 1379, 837 Germany 1988 342-1 Jarrett Album) ECM Records 342-1 Keith Dark Intervals UCCE-9233 ECM Records UCCE-9233 Japan 2014 Jarrett (CD, Album) ECM 1379, 837 Keith Dark Intervals ECM Records, ECM 1379, 837 Germany 1988 342-2 Jarrett (CD, Album) ECM Records 342-2 Keith Dark Intervals 837 342-4 ECM Records 837 342-4 France 1988 Jarrett (Cass, Album) ECM 1379, 837 Keith Dark Intervals (LP, ECM Records, ECM 1379, 837 Germany 1988 342-1 Jarrett Album, TP) ECM Records 342-1 Related Music albums to Dark Intervals by Keith Jarrett Keith Jarrett With Jan Garbarek / Charlie Haden, Jan Garbarek / Keith Jarrett - Solara March / 'Long As You Know You're Living Yours Keith Jarrett - Arbour Zena Keith Jarrett - The Celestial Hawk - For Orchestra, Percussion And Piano Keith Jarrett - The Köln Concert Keith Jarrett - Vienna Concert Keith Jarrett - Sun Bear Concerts (Excerpts) Keith Jarrett, Gary Peacock, Jack DeJohnette - Standards, Vol. 2 Keith Jarrett - The Melody At Night, With You Keith Jarrett - Eyes Of The Heart Dmitri Shostakovich - Keith Jarrett - 24 Preludes And Fugues Op. 87.
Recommended publications
  • Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
    Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A.
    [Show full text]
  • Keith Jarrett's Spiritual Beliefs Through a Gurdjieffian Lens
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals... Channelling the Creative: Keith Jarrett’s Spiritual Beliefs Through a Gurdjieffian Lens Johanna Petsche Introduction The elusive nature of the creative process in art has remained a puzzling phenomenon for artists and their audiences. What happens to an inspired artist in the moment of creation and where that inspiration comes from are questions that prompt many artists to explain the process as spiritual or mystical, describing their experiences as ‘channelling the divine’, ‘tapping into a greater reality’, or being visited or played by their ‘muse’. Pianist and improviser Keith Jarrett (b.1945) frequently explains the creative process in this way and this is nowhere more evident than in discussions on his wholly improvised solo concerts. Jarrett explains these massive feats of creativity in terms of an ability to ‘channel’ or ‘surrender to’ a source of inspiration, which he ambiguously designates the ‘ongoing harmony’, the ‘Creative’, and the ‘Divine Will’. These accounts are freely expressed in interviews and album liner notes, and are thus highly accessible to his audiences. Jarrett’s mystical accounts of the creative process, his incredible improvisatory abilities, and other key elements come together to create the strange aura of mystery that surrounds his notorious solo concerts. This paper will demystify Jarrett’s spiritual beliefs on the creative process by considering them within a Gurdjieffian context. This will allow for a much deeper understanding of Jarrett’s cryptic statements on creativity, and his idiosyncratic behaviour during the solo concerts.
    [Show full text]
  • Memoria Info Sheet
    Memoria (World Premiere – 1979) IN MEMORY – IN CELEBRATION Choreography: Alvin Ailey Music: Keith Jarrett Costumes: A. Christina Giannini Lighting: Chenault Spence In the tumultuous time of 1979 when Mr. Ailey’s great, perennial friend from his Lester Horton days, choreographer Joyce Trisler, died prematurely, he began choreographing Memoria. Later, he wrote, “Memoria is about Joyce’s life, my memories of her, my image of her. Although these are very abstract images, nobody has ever asked me what Memoria is about. People everywhere understand it. Making the dance was a very deep and wrenching experience for me.” The ballet is structured in two parts—“In Memory” and “In Celebration”—to the sublime music of Keith Jarrett. Memoria marked the first time Mr. Ailey combined Alvin Ailey American Dance Theater with Ailey II and advanced students from The Ailey School. AAADT in Alvin Ailey’s Memoria with Kansas City Area Dance Students. Photo by Steve Wilson. “…a serious stage drama, with mystery and poetry.” The New York Times “…Mr. Ailey has paid Miss Trisler the fine tribute of creating a work that has a universal quality. It is a dance of both exultation and quiet but deep feeling.” The New York Times “...a homage to the late Joyce Trisler that grows more poignant and more golden every season.” The New York Times “…a rhapsodic ensemble number that unfolds like the opening of a blossom.” The Washington Post, Alan M. Kriegsman “A work of love that brims over with the joys of life.” San Francisco Chronicle, Marilyn Tucker Keith Jarrett Keith Jarrett, pianist, composer and bandleader, is one of the most prolific, innovative, and iconoclastic musicians to emerge from the late 20th century.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 115, 1995-1996
    BOSTON • s, •<».^: SYMPHONY ORCHESTRA v SEIJIOZAWA MUSIC DIRECTOR 9 6 S E O N The security of a trust, Fidelity investment expertise. A Classic Composition '****? \*&T~~ Fidelity Just as a Beethoven score is at its JdfeJ^-best when performed by a world- ** Pergonal \* class symphony — so, too, should your trust assets be managed by Tru<tt *g£ a financial company recognized Servicer globally for its investment expertise. Fidelity Investments. Xhat's why Fidelity now offers a managed trust or personalized >»^~~i»vestment management account 5*foryour portfolio of $400,000 or more. For more "information, visit , a Fidelity Investor Center or call Fidelity Pergonal Triut Service** at ' 1-800-854-2829. Visit a Fidelity Investor Center Near You: Boston - Back Bay • Boston - Financial District Braintree, MA • Burlington, MA Fidelity investments" SERVICES OFFERED ONLY THROUGH AUTHORIZED TRUST COMPANIES. TRUST SERVICES VARY BY STATE. FIDELITY BROKERAGE SERVICES, INC., MEMBER NYSE, SIPC. Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Fifteenth Season, 1995-96 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice- Chairman Harvey Chet Krentzman, Vice-Chairman Mrs. Edith L. Dabney, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Mrs. John H. Fitzpatrick, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Nader F. Darehshori Edna S. Kalman Mrs. Robert B. Newman James F. Cleary Deborah B. Davis Allen Z. Kluchman Robert P. O'Block John E. Cogan, Jr. Nina L. Doggett George Krupp Peter C. Read Julian Cohen Avram J. Goldberg R. Willis Leith, Jr.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 119
    S E I J I O Z A W A MUSIC Dl R ECTO R * *r u u -- w la BQS TO N <_' M-Tiir—H i>— 'ts^c»»-- YMPHONY TESTRA IV 1* 3^ J >' . <i , ^ Yx 1QQQ-20U SEASON m 'JGV&V . iifUB96fsi\SBi1l Ju p-m .*;.•. • Bring your Steinway: ^iJn&f^&dB^i SH9B £99 ftU H r*i nl ^5 raj C$8 BB **CSv 1111tr/SBl Wft/i /7(w p/tfHS /row acre gated community atop I * 1 if* 2,100 to 5,000 square feet, prestigious Fisher Hill IBB 1 -4 8? bW3I |H -A> 1 «£[i you can bring your Concert Jointly marketed by Sotheby's • v* V . 1 wSi - 1 Grand to Longyear. International Realty and bbbbb^Bf 1 Hi Bfcg .••**-i *Djjy You 11 be enjoying full-service, Hammond Residential Real Estate. » < mnn^H tU EbbbbbbbI BBB BB r*2*». <* single-floor condominium living at Priced from $1,400,000. ill V BBl Pa ?f^tla( Efl^srvrf £SnA >»'i3 its absolute finest all harmoniously Call Hammond Real Estate at qkS mi nfit *lr SlSS ^« located on an extraordinary eight- 731-4644, ext 410. Kp '^.CyS (617) H 1 jUm£' TSW 1 ISIl J<*S uJme BEI jSbbbSHI BBj ttLZMt ' 1 t^ |PKJt£ rtw^ CTJspt flSj BJ '^**v£5 BBB^ttBl LONGYEAR rftrTh v*v-H>''^\1k f$Xsp •xJK ^8 bbbvAWIH * *» > H a/ Lr/sner Jiill S& BROOKLINE \ B^L^LH 1 • ,*/* ^*$£j Bh HflH fci/TE li PrEJj fSm SlawS a^ySwaNi fjySjji jjBJy >k''s *! {MR ^>»~#*5S$Z, • '.?-v.
    [Show full text]
  • Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
    1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures.
    [Show full text]
  • Mccann Swings Into Production
    32 Billboard SPECIAL SURVEY For Week Ending 9/4/76 (Published the 2nd 8 4th Issue Of Every Month) Jazz Billboard jazz McCann Swings Into Production Sell i ng 3est LPs® Pianist- Singer Does Own Album, Preps Musical Show By ELIOT TIEGEL d ,V a %$ TITLE ' a LOS ANGELES -Les McCann should know what the control board a3 g Artist, Label & Number (Distributing Label) has produced his own first album can do, what he can get out of it and and will produce his first stage pres- what he can't. "I've had the great 1 1 23 BREEZIN George Benson, Warner Bros. BS 2919 entation of a musical, "Brother fortune of working with Bob Lifton Francis," co- authored with a lyricist in New York and I learned a lot 2 2 13 BOB JAMES THREE going under the monicker of Rev. B. from him," he says of past experi- CTI 6063 The Atlantic LP, "River High, ences with the noted New York engi- 3 5 14 FEVER River Low," has just been released. neer. Ronnie Laws, Blue Note BN- LA628 -G (United Artists) The musical, an updated story about McCann says before he agrees to 4 3 17 THOSE SOUTHERN KNIGHTS St. Francis of Assisi, will be record anyone he wants to get to Crusaders, ABC /Blue Thumb BTSD 6024 presented Nov. 27 at the Santa Mo- know the person because, he admits nica Civic Auditorium featuring 5 6 17 YOU ARE MY STARSHIP candidly, "there have been times in Norman Connors, Buddah BDS 5655 McCann the lead role and with a when I'd go in the studio and be so cast of about 30 onstage.
    [Show full text]
  • Jazz & World Novembre Dicembre
    I dischi scelti fra Novità di Novembre e Dicembre le novità del mese KEITH JARRETT Concerts (Bregenz/Munchen) "I concerti di Bregenz/Monaco di Baviera sono le più brillanti registrazioni da solista dal vivo di Jarrett ad oggi, il suo livello di ispirazione è straordinario e la musica si muove più che mai su un'ampia gamma musicale ed emotiva" Ian Carr biografo KJ KEITH JARRETT pianoforte Pochi pianisti possono stare al fianco di Keith Jarrett, carismatico protagonista del panorama del jazz e della musica classica sin dagli anni Settanta, quando ha cominciato a stregare i pubblici di tutto il mondo con le sue sensazionali improvvisazioni. Dopo "Brema/Losanna", dopo "The Köln Concert" e dopo l'epico "Sun Bear Concerts", il 3 CD ECM 1227-29 successivo sviluppo nei concerti solistici di Jarrett è quello qui documentato. Due piano solo Medio Prezzo ¶|xGACFCHy945705z dall'Austria e dalla Germania, registrati rispettivamente alla Festspielhaus di Bregenz e alla Herkulessaal di Monaco, luoghi noti per l'eccezionale acustica. Mentre il concerto di Bregenz è stato finora disponibile su cd, l'esecuzione completa del concerto di Monaco è qui documentata per la prima volta. Il box set comprende 3 cd, un ampio libretto con note di Articoli Correlati: ECM 1086-87 KEITH JARRETT Hymns & Spheres copertina di Jarrett, il saggio del critico svizzero Peter Rüedi e una poesia di Michael Krüger. ECM 2200 KEITH JARRETT Somewhere KEITH JARRETT pf ECM 2230-31 JOHANN SEBASTIAN BACH Sonate per violino (n.1-6, BWV 1014-1019) MICHELLE MAKARSKI vl ECM 2361-62 KEITH JARRETT No End Genere: Jazz & Blues Distribuzione:05/11/2013 KEITH JARRETT No End Keith Jarrett: chitarra elettrica, Fender bass, batteria, tablas, percussioni, recorder, pianoforte Durata: 92:53 Registrato nel suo studio di casa nel 1986, "No End" ci illumina su aspetti musicali di Jarrett 2 CD ECM 2361-62 finora non documentati.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1995
    osfon i^j^ny wksW Tangtew@» 5 NOW AT FILENE'S... FROM TOMMY H i The tommy collection i Cologne spray, 3.4-oz.,$42 Cologne spray, 1.7-oz.,$28 After-shave balmB mm 3.4-oz., $32 m After-shave, 3.4-oz., $32 Seiji Ozawa, Music Director One Hundred and Fourteenth Season, 1994-95 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman Nicholas T. Zervas, President Mrs. Edith L. Dabney, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Mrs. John H. Fitzpatrick, Vice-Chairman Harlan E. Anderson Nader F. Darehshori Edna S. Kalman Mrs. August R. Meyer Peter A. Brooke Deborah B. Davis Allen Z. Kluchman Mrs. Robert B. Newman James F. Cleary Nina L. Doggett Harvey Chet Peter C. Read John F. Cogan, Jr. Dean W. Freed Krentzman Carol Scheifele-Holmes Julian Cohen AvramJ. Goldberg George Krupp Richard A. Smith William F. Connell Thelma E. Goldberg R. Willis Leith, Jr. Ray Stata William M. Crozier, Jr. Julian T. Houston Trustees Emeriti Vernon R. Alden Archie C. Epps Mrs. George I. Mrs. George Lee Philip K. Allen Mrs. Harris Kaplan Sargent David B. Arnold, Jr. Fahnestock George H. Kidder Sidney Stoneman Leo L. Beranek Mrs. John L. Thomas D. Perry, Jr. John Hoyt Stookey Abram T. Collier Grandin Irving W. Rabb John L. Thorndike Nelson J. Darling, Jr. Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk Board of Overseers of the Boston Symphony Orchestra, Inc. Thelma E. Goldberg, Chairman Robert P. O'Block, Vice-Chairman Jordan L.
    [Show full text]
  • Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality
    Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality By Carlo Estolano Commentaries for the PhD folio of compositions University of York Music December 2017 2 3 Unbound Jazz: Composing and Performing in a Multi-Cultural Tonality Thesis submitted in partial fulfilment of a PhD degree in Music at The University of York, December 2018 by Carlo Estolano. Abstract This folio is conceived to propose and demonstrate music realisation of original compositions throughout the employment of elements of mainly two distinct sources: a selection from the wide palette of Brazilian folk styles that have improvisation as a strong element, which is internationally acknowledged as Brazilian Jazz; and its intersections with a certain style of European Jazz represented by artists notable by their keenness to combine elements from distinct musical genres with their Classical background, such as Ralph Towner, Jan Garbarek, John Abercrombie, Eberhard Weber, Kenny Wheeler, Terje Rypdal, Keith Jarrett to name a few. Both Brazilian and European approaches to Jazz seem to share processes of appropriation of foreign musical languages, as well as utilising characteristic features of their own traditions. Another common ground is their relation with some elements and procedures of classical music. The methodology to accomplish an organized collection of musical material was to divide them in five major influences, part of them by composers and part by genres notable by having evolved through absorbing elements from distinct cultural sources. In five projects, fifteen original compositions are provided along with their recorded and/or filmed performances and commentaries about the compositional aspects, concerningthe style or composer focused on.
    [Show full text]
  • New Students!
    2014 autumn vol xxiii · no 1 music · worship · arts Prismyale institute of sacred music common ground for scholarship and practice Welcome, New Students! Compiled by Katharine Arnold Luce Each autumn we welcome new students who bring a breadth and 0 depth of diverse backgrounds to our interdisciplinary enterprise. Many of them accepted our invitation to tell a bit about themselves, so that our alumni and friends can catch some of the enthusiasm 4 that abounds at this time of year. Celebrating 4o Years The ISM community celebrated the opening of the academic at Yale year at the ISM picnic at the Eli Whitney Museum in Hamden. Students get acquainted at the annual ISM picnic. Kenyon Adams (M.A.R. ’15) is from Orlando, FL. He and his wife Emily moved to New Haven from New York City where he coordinated arts ministries at Redeemer Presbyterian Church and was active as a performer and creative catalyst. Kenyon made his feature film debut in Lee Isaac Chung’s Lucky Life, premiering at Tribeca Film Festival. He has collaborated with artists including Bill T. Jones, Charlie Peacock, Jon Rodgers, Aloe Blacc, and Gary Clark Jr. Kenyon contributed art and dialogue at the National Arts Policy Roundtable, Center for Faith & Work, Festival of Faith & Music and the Jubilee Conference. This summer, Kenyon appeared in concert at the Kennedy Center, consulted at Grace Farms (a new cultural center designed by SANAA) and co-created a documentary with many of his favorite artists. Kenyon is an alumnus of SMU, the National YoungARTS Program, and was named a White House Presidential Scholar in the Arts.
    [Show full text]
  • Jan Garbarek Belonging Mp3, Flac, Wma
    Jan Garbarek Belonging mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Belonging Country: Germany Released: 1974 Style: Post Bop MP3 version RAR size: 1125 mb FLAC version RAR size: 1112 mb WMA version RAR size: 1756 mb Rating: 4.6 Votes: 989 Other Formats: DTS ADX TTA APE AC3 DMF DXD Tracklist A1 Spiral Dance 4:08 A2 Blossom 12:18 A3 'Long As You Know You're Living Yours 6:11 B1 Belonging 2:12 B2 The Windup 8:26 B3 Solstice 13:15 Companies, etc. Phonographic Copyright (p) – ECM Records GmbH Published By – Cavelight Music Recorded At – Arne Bendiksen Studio Credits Bass – Palle Danielsson Composed By – Keith Jarrett Design [Cover Design] – Tadayuki Naito* Drums – Jon Christensen Engineer – Jan Erik Kongshaug Layout – B/B Wojirsch* Piano – Keith Jarrett Producer – Manfred Eicher Tenor Saxophone, Soprano Saxophone – Jan Garbarek Notes [on sleeve:] ECM 1050 ST [on front, rear and spine] Recorded April 24 and 25, 1974 at Arne Bendiksen Studio, Oslo Published by Cavelight Music, BMI ℗ 1974 ECM Records GmbH Printed in W.Germany [on labels:] ECM RECORDS [logo] 33 M STEREO ECM 1050 Published by Cavelight Music, BMI ℗ 1974 ECM Records GmbH Made in Germany [on spine:] ECM 1050 ST Jan Garbarek Keith Jarrett Belonging --- Original edition. A later reissue shows a label code on different center labels. Barcode and Other Identifiers Rights Society: GEMA Rights Society: BMI Matrix / Runout (A-side, stamped): ST-ECM 1050-A Matrix / Runout (B-side, stamped): ST-ECM 1050-B Other versions Category Artist Title (Format) Label Category Country
    [Show full text]