DeJohnette continued to work with Special Edition into the 1990s, but did not limit himself to that.

In 2012, DeJohnette released Sound Travels, a multi-genre album that DeJohnette himself dominates but features many new collaborators like Bruce Hornsby, Esperanza Spalding, and Lionel Loueke as well as old faces such as McFerrin, Quintero, and Jason Moran.

Though he is often content with his drumming remaining behind the music, “ his drumming is always part of the music's internal construction .” Modern Drummer magazine, in a 2004 interview, called DeJohnette ’ s drumming “ beyond technique .” While most of his drumming is considered free and flowing, he commented that he has to play with a lot of restraint when playing with Keith Jarrett and his trio, saying that he ’ s challenged when playing in that group “ to play with the subtlety that the music requires .” His work on the cymbals especially has been described as “ loose ,” creating an almost free tempo, and he calls himself an “ abstract thinker ” when it comes to soloing, saying that he puts “ more weight on the abstract than, ‘ What were you thinking in bar 33 ?’ I don ’ t like to think that way.

This group came directly out of the DeJohnette ’ s time with Getz, as Holland joined him in this group along with guitarist John Abercrombie, both of whom would become associated with DeJohnette throughout his career.

This was another short-lived group, yet it led directly to the formation of DeJohnette ’ s next group, New Directions, which featured Abercrombie again on guitar along with Lester Bowie on trumpet and Eddie Gomez on bass.

Their friendship led to La Russa introducing Hornsby to jazz bassist Christian McBride, which then led to the formation of The Bruce Hornsby Trio ( along with drummer Jack DeJohnette ) and their first album, Camp Meeting.

In 1976, jazz composer Michael Mantler recorded an album called The Hapless Child ( Watt / ECM ) with Robert Wyatt, Terje Rypdal, Carla Bley and Jack DeJohnette.

Time on My Hands ( 1990 ), with Lovano, Charlie Haden and Jack DeJohnette, showcased Scofield's guitar and Mingus-influenced writing.

Drummers such as Tony Williams, Jack DeJohnette, Lenny White, Michael Carvin, and Carl Allen gained important early experience with McLean.

* One Night with Blue Note Preserved Volume 2 ( 1985 ) with Woody Shaw, McCoy Tyner, Cecil McBee and Jack DeJohnette

Pat Metheny also has released notable solo, trio, quartet and duet recordings with musicians such as Jim Hall, Dave Holland, Roy Haynes, Toninho Horta, Gary Burton, Chick Corea, Pedro Aznar, Jaco Pastorius, Charlie Haden, John Scofield, Jack DeJohnette, Herbie Hancock, Bill Stewart, Ornette Coleman, Brad Mehldau, Joni Mitchell and many others.

His live performances with the Miles Davis band continued into 1970, with a great touring band of Steven Grossman, tenor sax, Keith Jarrett, additional electric piano and organ, Jack DeJohnette, drums, Dave Holland, bass, Airto Moreira, percussion, and Miles on trumpet.

DeJohnette began his drumming career playing R & B, hard bop, and avant-garde music in Chicago, leading his own groups while playing also with Richard Abrams and Roscoe Mitchell, both of whom were members of the Association for the Advancement of Creative Musicians.

A band that recognized the potential influence of rock and roll on jazz, Lloyd ’ s group was where DeJohnette would first encounter pianist Keith Jarrett, who would work extensively with DeJohnette throughout his career.

While Lloyd ’ s band was where he received international recognition for the first time, it was not the only group DeJohnette played with during his early years in New York, as he also worked with groups including Jackie McLean, Abbey Lincoln, Betty Carter, and Bill Evans.

Davis had seen DeJohnette play many times, one of which was during a stint with Evans at Ronnie Scott ’ s Jazz Club in London in 1968, where he also first saw the exploits of bassist Dave Holland.

Davis recognized DeJohnette ’ s ability to combine the driving grooves associated with rock and roll with improvisational aspects associated with jazz.

DeJohnette continued to work with Davis for the next three years, which led to collaborations with other Davis band members John McLaughlin, Chick Corea, and Holland ; he also drew Keith Jarrett into the band.

His many recording credits since then include discs with Joe Lovano, Michael Brecker, Stan Getz, Bob Brookmeyer, Gary Burton, John Abercrombie, Bill Frisell, Pat Metheny, Eliane Elias, Enrico Pieranunzi, Joey Baron, Philly Joe Jones, Jack DeJohnette, Peter Erskine, Paul Motian and many others.

Gonzalo has performed with the likes of Dizzy Gillespie, Ignacio Berroa, Chick Corea, Al DiMeola, Herbie Hancock, Charlie Haden, Katia Labèque, Richard Galliano, Francisco Céspedes, Tony Martinez, Issac Delgado, Juan Luis Guerra, Dave Holland, Chris Potter, Eric Harland, Dennis Chambers, Brian Bromberg, Ron Carter, Yosvany Terry, Matt Brewer, Mike Rodriguez, Marcus Gilmore, Pat Martino, Giovanni Hidalgo, John Patitucci, Jack DeJohnette, Joao Bosco, Ivan Lins and many others.

During his professional career as a pianist, he has played with and for musicians such as Ravi Coltrane, Billy Higgins, Marlena Shaw, Gerald Wilson, James Newton, Billy Hart, Anthony Cox, Greg Osby, Robin Eubanks, Lonnie Plaxico, Jack DeJohnette, Ralph Peterson, Dave Holland, Bobby McFerrin, Meshell Ndegeocello, Carlos Ward, Ray Anderson, Charles Neville, Hassan Hakmoun, Oliver Lake, Reggie Workman, Mýa, Kip Hanrahan, Noreaga, Cindy Blackman, Joshua Redman, Victor Bailey, Bobby Previte, Frank Lacy, Bennie Maupin, Pheeroan Aklaff, Eric Person, Gary Thomas, Vernon Reid, Marty Ehrlich, Gene Jackson, James Genus, Steve Swallow, Andrew Cyrille, Steve Coleman, John Scofield, Jeff " Tain " Watts, Stanley Turrentine, Don Alias, and many others.

The hall's unique oval-shaped stage has seen performances by Rachmaninoff, the Denishawn Dance Company, The Vienna Philharmonic, New York Philharmonic, London Philharmonic Orchestra, The Chamber Orchestra of Philadelphia, The Lahti Symphony Orchestra, Ravi Shankar, Anne Sofie von Otter, Audra McDonald, The Kremerata Baltica, The Israel Philharmonic Orchestra, The Lincoln Center Jazz Orchestra, Enrico Caruso, Joan Sutherland, Robert Frost, Jysse Norman, Van Cliburn, Yo-Yo Ma, Vladimir Horowitz, Helen Hayes, Cecelia Bartoli, Eugene Ormandy, Leonard Bernstein, Isaac Stern, Benny Goodman, Harry Chapin, Dave Brubeck, Jack DeJohnette, The Leipzig Gewandhaus Orchestra, Louis Lortie, The Oslo Philharmonic Orchestra, Wynton Marsalis, Elton John, and The Grateful Dead, among others.

DeJohnette joined Evan ’ s trio in 1968, the same year the group headlined the Montreux Jazz Festival and produce the album Bill Evans at the Montreux Jazz Festival.

DeJohnette put some work into the album Directions, and was the drummer on the landmark album Bitches Brew.

His first record, The DeJohnette Complex, was released in 1968 ; on the album, DeJohnette played melodica as well as drums, preferring often to let a mentor of his, Roy Haynes, sit behind the set.

Subsequently, he formed the Dave Holland Trio ( with Coleman and DeJohnette ) for the 1988 album Triplicate, and teamed with Coleman, electric guitarist Kevin Eubanks and drummer Marvin “ Smitty ” Smith for Extensions.

* Zebra ( Jack DeJohnette album ), 1989

The jazz fusion group Trio Beyond, consisting of John Scofield, Jack DeJohnette, and Larry Goldings released in 2006 an album dedicated to drummer Tony Williams ( 1945 – 1997 ), called Saudades.

* Changes ( Jarrett album ), by Keith Jarrett, Jack DeJohnette and Gary Peacock

Bruce Hornsby, Jack DeJohnette and Christian McBride give a rendering of the song on their 2007 album Camp Meeting.

* Sorcery ( Jack DeJohnette album ), 1974

* Oneness ( Jack DeJohnette album ), a 1997 jazz album

However, DeJohnette left the group in early 1968, citing Lloyd ’ s deteriorating, “ flat ” playing as his main reason for leaving.

During this period, especially with Special Edition, DeJohnette offered “ the necessary gravity to keep the horns in a tight orbit ” in his compositions while also treating his listeners to “ the expanded vocabulary of the avant-garde plus the discipline of traditional jazz compositions .” DeJohnette ’ s work with Special Edition has been interrupted regularly by other projects, the most significant of which are his recordings in 1983 and tours from 1985 as a member of Keith Jarrett ’ s trio, which was totally devoted to playing jazz standards.

I can do it, but I like to be more in the flow .” In terms of what he feels when he plays, DeJohnette said that when he plays, he goes “ into an altered state, a different headspace.

“ Jack DeJohnette Biography .” Musician Biographies.

“ Jack DeJohnette and Art Blakey .” The Washington Post, 3 June 1983. http :// search. proquest. com / docview / 147551728 / pageviewPDF? accountid = 11837 ( accessed 23 April 2012 ).

“ Live Reviews: Jack DeJohnette Latin Project .” All About Jazz, 19 February 2005. http :// www. allaboutjazz. com / php / article. php? id = 16688 ( accessed 24 April 2012 ).

“ Jack DeJohnette .” In Barry Kernfield, ed., The New Grove Dictionary of Jazz, volume 1.

* “ Jack DeJohnette: Biography .” Jack DeJohnette official website.

“ Jack DeJohnette .” Modern Drummer Magazine, 12 May 2004. http :// www. moderndrummer. com / site / 2004 / 05 / jack-dejohnette /#. T4zA39VObbg ( accessed 23 April 2012 ).

* “ Sound Travels .” Jack DeJohnette official website.

His newest CD release is “ The Tip of the Sword ” on the RadJazz Music label featuring Richie Beirach and Jack DeJohnette.