As a drummer, Jack DeJohnette has played a key role in pretty much all phases of jazz since the early sixties.
Süddeutsche Zeitung
American drummer, pianist and composer Jack DeJohnette (born in Chicago in 1942) has worked with some of the most iconic figures in jazz in a career that spans over half a century, developing a unique voice both as instrumentalist and composer and taking part in countless influential sessions that include Miles Davis’s Bitches Brew. His reputation as one of the hardest swinging percussionists, most notably as part of Keith Jarrett’s so-called standards trio, precedes him.
DeJohnettes collaboration with ECM harks all the way back to the earliest days of the label, performing in duo with Keith Jarrett on Ruta and Daitya, recorded in 1971. From there he [...]
As a drummer, Jack DeJohnette has played a key role in pretty much all phases of jazz since the early sixties.
Süddeutsche Zeitung
American drummer, pianist and composer Jack DeJohnette (born in Chicago in 1942) has worked with some of the most iconic figures in jazz in a career that spans over half a century, developing a unique voice both as instrumentalist and composer and taking part in countless influential sessions that include Miles Davis’s Bitches Brew. His reputation as one of the hardest swinging percussionists, most notably as part of Keith Jarrett’s so-called standards trio, precedes him.
DeJohnettes collaboration with ECM harks all the way back to the earliest days of the label, performing in duo with Keith Jarrett on Ruta and Daitya, recorded in 1971. From there he would go on to leave a mark on many an influential sessions for the label, including the Gateway trio recordings with Dave Holland and John Abercrombie, his Directions band, the Special Edition group, Keith Jarrett’s standards trio, projects with various figures from the Association for the Advancement of Creative Musicians (AACM) and too many more to list here. To date, he is the most recorded artist on the label.
There’s a sly urgency in Jack DeJohnette’s backbeat, which combines a strong forward pull with something cagey and equivocal. That rhythmic signature is crucial to the feel of some Miles Davis albums from the early 1970s and a range of other music since.
The New York Times
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