Restoration Ruin/Bap-Tizum

Editorial Reviews

All Music Guide - Richie Unterberger
Restoration Ruin, a weird Keith Jarrett album by any measure, was reissued on a single-disc CD in 1999 that made it seem yet weirder by pairing it, incongruously, with a respected, all-out early-'70s avant-garde jazz album by the Art Ensemble of Chicago, Bap-Tizum recorded live in 1972 at the Ann Arbor Blues and Jazz Festival. Restoration Ruin is a real oddity in the Jarrett catalog: a vocal album on which he plays all the instruments. And not a jazz vocal album either, but a folk-rock one, in which he alternates -- quite literally, track to track -- between sub-Dylan outings and more folk-Baroque ones that echo the late-'60s work of artists like Love and Tim ...
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Editorial Reviews

All Music Guide - Richie Unterberger
Restoration Ruin, a weird Keith Jarrett album by any measure, was reissued on a single-disc CD in 1999 that made it seem yet weirder by pairing it, incongruously, with a respected, all-out early-'70s avant-garde jazz album by the Art Ensemble of Chicago, Bap-Tizum recorded live in 1972 at the Ann Arbor Blues and Jazz Festival. Restoration Ruin is a real oddity in the Jarrett catalog: a vocal album on which he plays all the instruments. And not a jazz vocal album either, but a folk-rock one, in which he alternates -- quite literally, track to track -- between sub-Dylan outings and more folk-Baroque ones that echo the late-'60s work of artists like Love and Tim Buckley. There's a certain amateurish appeal to the LP, in keeping with other crossover "acid-folk" artists of the period. Yet the fact is that Jarrett is a major jazz musician, but a journeyman-at-best folk-rock singer with a hoarse, wavering croon-whine, instrumentalist, and songwriter, with a bent for flaky wordplay that gives this a bit of a fried-psychedelic tinge. At times, to be harsh, it's less than journeyman, particularly on the Dylanesque cuts, which have almost embarrassing wheezing son-of-Dylan harmonica, and some downright embarrassing out-of-sync drums. Better are the daintier, more melodic tracks with trimmings of flute, strings, and flamenco-like guitar, like the title song, "For You and Me," and "Sioux City Sue New," with their bossa nova feel.
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Product Details

  • Release Date: 5/25/1999
  • Label: Collectables
  • UPC: 090431627426
  • Catalog Number: 6274
  • Sales rank: 125,323

Tracks

Disc 1
  1. 1 Restoration Ruin (2:21)
  2. 2 All Right (2:49)
  3. 3 For You and Me (2:42)
  4. 4 Have a Real Time (2:54)
  5. 5 Sioux City Sue New (2:50)
  6. 6 You're Fortunate (2:23)
  7. 7 Fire and Rain (2:53)
  8. 8 Now He Knows Better (3:59)
  9. 9 Wonders (4:01)
  10. 10 Where Are You Going? (4:28)
  11. 11 Nfamoudou-Boudougou - The Art Ensemble of Chicago (4:15)
  12. 12 Immm - The Art Ensemble of Chicago (3:54)
  13. 13 Unanka - The Art Ensemble of Chicago (12:30)
  14. 14 Oouffnoon - The Art Ensemble of Chicago (3:53)
  15. 15 Ohnedaruth - The Art Ensemble of Chicago (14:50)
  16. 16 Odwalla - The Art Ensemble of Chicago (5:29)
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Album Credits

Performance Credits
Keith Jarrett Primary Artist, Primary Artist
The Art Ensemble of Chicago Track Performer
Lester Bowie Bass, Percussion, Trumpet, Bass Drums, Flugelhorn, Vocals, Kelphorn
Joseph Jarman Alto, Flute, Percussion, Soprano, Conga, Alto Flute, Alto Saxophone, Baritone Saxophone, Bass Saxophone, Soprano Saxophone, Tenor Saxophone, Vocals, Background Vocals, Vibes, Track Performer
Roscoe Mitchell Clarinet, Percussion, Drums, Alto Saxophone, Baritone Saxophone, Bass Saxophone, Soprano Saxophone, Tenor Saxophone, Vocals, Track Performer
Malachi Favors Bass, Gong, Vocals, Whistle (Instrument), Track Performer, Log Drums
Famoudou Don Moye Percussion, Conga, Drums, Gong, Marimbas, Vocals, Whistle (Instrument), Track Performer
John Sinclair Track Performer
Technical Credits
The Art Ensemble of Chicago Composer
Joseph Jarman Composer
Malachi Favors Composer
Michael Cuscuna Producer
Jimmy Douglass Producer
John Sinclair Liner Notes, Introduction
Tunc Erim Producer
Don Moye Composer
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