Some context: Keith Jarrett (born May 8, 1945) is an American jazz and classical music pianist. Jarrett started his career with Art Blakey, moving on to play with Charles Lloyd and Miles Davis. Since the early 1970s he has enjoyed a great deal of success as a group leader and a solo performer in jazz, jazz fusion, and classical music. His improvisations draw from the traditions of jazz and other genres, especially Western classical music, gospel, blues, and ethnic folk music.
In 1983, at the suggestion of ECM head Manfred Eicher, Jarrett asked bassist Gary Peacock and drummer Jack DeJohnette, with whom he had worked on Peacock's 1977 album Tales of Another, to record an album of jazz standards, simply titled Standards, Volume 1. Two more albums, Standards, Volume 2 and Changes, both recorded at the same session, followed soon after. The success of these albums and the group's ensuing tour, which came as traditional acoustic post-bop was enjoying an upswing in the early 1980s, led to this new standards trio becoming one of the premier working groups in jazz, and certainly one of the most enduring, continuing to record and tour for more than 25 years. The trio has recorded numerous live and studio albums consisting primarily of jazz repertory material. The Jarrett-Peacock-DeJohnette trio also produced recordings that consist largely of challenging original material, including 1987's Changeless. Several of the standards albums contain an original track or two, some attributed to Jarrett, but most are group improvisations. The live recordings Inside Out and Always Let Me Go (released in 2001 and 2002 respectively) marked a renewed interest by the trio in wholly improvised free jazz. By this point in their history, the musical communication among these three men had become nothing short of telepathic, and their group improvisations frequently take on a complexity that sounds almost composed. The standards trio undertakes frequent world tours of recital halls (the only venues in which Jarrett, a notorious stickler for acoustics, will play) and is one of the few truly successful jazz groups to play both straight-ahead (as opposed to smooth) and free jazz. A related recording, At the Deer Head Inn (1992), is a live album of standards recorded with Paul Motian replacing DeJohnette, at the venue in Delaware Water Gap, Pennsylvania, 40 miles from Jarrett's hometown, where he had his first job as a jazz pianist. It was the first time Jarrett and Motian had played together since the demise of the American quartet sixteen years earlier.
did they tour at all?
A: The standards trio undertakes frequent world tours of recital halls
Some context: The Black Seminoles are black Indians associated with the Seminole people in Florida and Oklahoma. They are the descendants of free blacks and of escaped slaves (called maroons) who allied with Seminole groups in Spanish Florida. Historically, the Black Seminoles lived mostly in distinct bands near the Native American Seminole. Some were held as slaves of particular Seminole leaders; but they had more freedom than did slaves held by whites in the South and by other Native American tribes, including the right to bear arms.
Throughout the period, several hundred Black Seminoles remained in the Indian Territory (present-day Oklahoma). Because most of the Seminole and the other Five Civilized Tribes supported the Confederacy during the American Civil War, in 1866 the US required new peace treaties with them. The US required the tribes emancipate any slaves and extend to the freedmen full citizenship rights in the tribes if they chose to stay in Indian Territory. In the late nineteenth century, Seminole Freedmen thrived in towns near the Seminole communities on the reservation. Most had not been living as slaves to the Indians before the war. They lived --as their descendants still do-- in and around Wewoka, Oklahoma, the community founded in 1849 by John Horse as a black settlement. Today it is the capital of the federally recognized Seminole Nation of Oklahoma. Following the Civil War, some Freedmen's leaders in Indian Territory practiced polygyny, as did ethnic African leaders in other diaspora communities. In 1900 there were 1,000 Freedmen listed in the population of the Seminole Nation in Indian Territory, about one-third of the total. By the time of the Dawes Rolls, there were numerous female-headed households registered. The Freedmen's towns were made up of large, closely connected families. After allotment, "[f]reedmen, unlike their [Indian] peers on the blood roll, were permitted to sell their land without clearing the transaction through the Indian Bureau. That made the poorly educated Freedmen easy marks for white settlers migrating from the Deep South." Numerous Seminole Freedmen lost their land in the early decades after allotment, and some moved to urban areas. Others left the state because of its conditions of racial segregation. As US citizens, they were exposed to the harsher racial laws of Oklahoma. Since 1954, the Freedmen have been included in the constitution of the Seminole Nation of Oklahoma. They have two bands, each representing more than one town and named for 19th-century band leaders: the Cesar Bruner band covers towns south of Little River; the Dosar Barkus covers the several towns located north of the river. Each of the bands elects two representatives to the General Council of the Seminole Nation.
how many years was this their territory?
A:
Since 1954, the Freedmen have been included in the constitution of the Seminole Nation of Oklahoma. They have two bands, each representing more than one town