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Keith Jarrett ne se sera rien refusé. ‘No End’, ces vingt pièces enregistrées la nuit dans son studio, seul, sans titres, ont le sens de cette liberté illimitée. Mélange de naiveté et de folie douce. Si l’on admet que l’instrumentiste Jarrett, le compositeur, le sideman, est un partenaire essentiel de ces cinquante dernières années. ‘No End’ laisse pantois. Ici ou là, fait rire. [...] Dans un coin, petite table de mixage et un poil de réverbe pour brider le son. Nul projet d’oeuvre ou de composition. La joie de jouer la batterie, de sentir les instruments (batterie, guitare). Amour des fusées de guitare électrique. [...] Keith Jarrett, n’ajoute rien, ne se disqualifie en rien. Le résultat? Gracieux, enfantin, la musique du possible, l’ouverture au monde. La réponse la plus simple aux exigences d’un marché anxieux (celui du disque), aux errances d’une esthétique paumée, aux diktats et au bon goût. Exquis.
Francis Marmande, Le Monde

Ehkä No End kertookin tekijästään enemmän kuin kymmenes erinomainen pianosoololevy tai triolevy ja avaa samalla oven ‘aikaan joka ei palaa’.
(Perhaps No End tells us much more about Jarrett than any tenth piano solo or trio record could ever do. At the same time it opens the listener a door ‘to a time that no longer exists’.)
Harri Uusitorppa, Helsingin Sangomat

The whole album is a work of rhythm and melodic rhyme. It springs from a love of instruments that require no intermediary--such as the hammers of a piano--to generate the sound. In a very visceral way, Jarrett has shortened the distance between the composing heart and the expectant ear.
Travis Rogers, Jazz Times

Zwanzig Miniaturen auf zwei CDs, conversations with myself, oft scheinbar ereignislos, aber in der Mikrostruktur und Interaktion zwischen den Instrumenten knisternd vor Spannung. Schlicht in der Aufnahmetechnik. Zweifellos war (und ist) das für Jarrett im Kontrast zu seiner intensiven und expansiven Klavierkunst ‚a healing experience’. Eine Aura von Einsamkeit teilt sich auch dem mit, der Jarretts Anweisung ‚play the music loud’ befolgt. Stellt sich die Frage nach der öffentlichen Relevanz dieses intimen Unternehmens. Oder auch nicht. Wäre Intimität grundsätzlich privat, gäb’s auf der Welt keine Lyrik. Zum Beispiel.
Peter Rüedi, Die Weltwoche

Although he initially ran a few tests to make sure that the balance would be right, otherwise the sessions were very spontaneous. No music was written out and no beginings or endings were planned in advance. In that way it is a little reminiscent of his solo piano concerts, except of course that in this situation he had the opportunity to build and build off of the ideas that he expressed on the other instruments. [...] suffice it to say that ‘No End’ is a very different Keith Jarrett set, one that his fans will find quite intriguing.
Scott Yanow, Jazz Inside Magazine

Jarrett can’t seem to help being intuitively musical through any axe he wields, and ‘No End’ is a satisfying contradiction in terms; a tour de force of serious woodshedding. More important, it’s fun. I had to keep reminding myself that I was listening not to a good funk band, but to one guy serially jamming with his overdubbeld selves – the sense of multiple musicians listening to and playing with each other is palpable. And of the dozens of albums Jarrett has released, ‘No End’ is the only one that’s a bona fide ‘driving’ album. I play it while tooling around town. It makes me smile.
Richard Lehnert, Stereophile

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