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As such, this is a valuable, underrated transition album that provides perhaps the last glimpse of the electric Keith Jarrett as he embarked on his notorious (and ultimately triumphant) anti-electric crusade.Your personal data is administered by VIN-Info Sp. Indeed, the most memorably percolating playing by both musicians turns up in the electric numbers, where Jarrett utilizes the distinctively funky, wah-wah, fuzz-tone approach on electric piano that he developed with Miles Davis. Tellingly, there is little in this collaboration that predicts what Jarrett and DeJohnette would do in their Standards Trio of the '80s rather, it anticipates the exotic Third World side of Jarrett's American quartet immediately in the future and adds a finishing flourish to his jazz-rock period. The all-acoustic title number ranges all over the lot, from tootling on a bamboo (?) flute to the energizing barrelhouse gospel riffs that would bloom in the solo concerts. Splitting his time between the electric and acoustic pianos and a bit of organ, Jarrett teams up with drummer/percussionist Jack DeJohnette in a series of experimental duets, his only electric session for ECM.
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