The three albums by this trio that date from 1967-71 and which were most recently reissued on Atlantic have a beguiling mix of Jarrett's lyricism, his funkiness, his ability to reflect pop, gospel and country ideas in a jazz setting, and explorations of freedom. But this slightly later set, now released for the first time, and played in front of an appreciative audience in a German Radio studio, is everything that those three albums are and more. There's the primal screaming Jarrett on soprano saxophone, keening, wailing and sobbing his way through ‘Piece for Ornette’ with Haden and Motian thrashing an equally earthy violent accompaniment, juxtaposed with the poised piano lyricism leading into funky backbeats on ‘Take Me Back’. He'd tried the same idea in reverse on the 1968 album Somewhere Before, where ‘Pretty Ballad’ morphs into the freeform, angry ‘Moving Soon’, but stage-managing the idea the other way round works far better here, and the German audience show their delight at the end of the Ornette tribute, before stillness descends as ‘Take Me Back’ begins. This is the young Jarrett already knowing how to sequence a set, but giving the impression of everything -including the programme – being spontaneous, and sharing that with the other players as well as the audience. Every piece on the album has its own special moments, culminating in a marathon version of Haden's ‘Song for Che’ that sees Jarrett picking up the soprano saxophone again, but this time playing the kind of slowly unfolding solo that he would sometimes play in duo with Dewey Redman when he joined this group a little later. Haden's own bowed solo takes us into the side of his playing that is largely about texture and prefigures his ‘Song for the Whales’ from later in the decade. The bowing gently moves towards a climax of the piece, with Jarrett reintroducing lyricism at the keyboard, before a torrent of untuned percussion backs Haden's pizzicato outro. It's a roller coaster of a concert, brilliantly played and presented, and performed with such utter conviction that we feel we are there in the studio with the three of them, sharing every moment of spontaneous invention.