Koln Concert Ogv

I will only mention how I came to this album as an indication of what you might expect. It was not long ago that I was listening to Bill Parker with a friend, remarking how much I enjoyed it. Knowing me as one who enjoys classical piano he said I would like Kieth Jarrett--at least the album that he had was recommended, and it was not Koln Concert. Later that night I looked him up to purchase an album and saw that this one, Koln Concert, was highly recommended and so that is the one I purchased. Initially, I found nothing objectionable, nor anything remarkable. I found it, actually, a bit like Windham Hill artists such as George Winston or something. I found it very pleasant to play while reading, which I do a lot, so it was played over and over quite often. In doing so I started to find the genius of this Jarrett and these songs to become manifest, even quite moving. There are some parts, in fact, that I found quite profound, and this played nicely against the occasional stride piano reminiscent of Winston. Frankly, I don't know where to place this album as we so often want to do; what category of music is it? I know such questions are banal and shouldn't matter, but it does at least help up to make decisions on a purchase. So, the best I can say, is that it has moments that are a quiet jazz -- I don't even know the sub-genre. There are many moments that might appeal to those who like certain composers such as Phillip Glass or even Satie, and certainly moments that may remind one of George Winston. So yes, this album deserves the accolades. I think other listeners more adept in Jarrett's work might be able to offer a more nuanced review, but, if like me, you are new to Jarrett I hope this helps.

This is a master at the peak of his abilities. There are not many jazz solos of this length and for very good reasons. The works are essentially composed and performed extemporaneously. This makes them extraordinarily difficult. Aside from the mental exertion over a long period of time, it takes an equally long intellectual effort. To be of a high emotional and intellectual value it therefore requires an artist to be at his or her absolute peak in terms of expertise, mental facility, and physical prowess. The Koln concert came at that particular high point in Keith Jarrett's life If you have never heard this session before, you are in for a treat. If you purchase this disc ane play it you will find yourself going back to it often. I have bought a number of copies over the years on vinyl, on cassette, and on CD. I keep giving copies to friends.

Magnificent

The Köln Concert stands as one of the most remarkable documents of musical creativity and human sensitivity ever captured. What makes this recording so extraordinary is not only Keith Jarrett’s improvisational genius, but the story behind it — an almost tragic situation that transformed into pure artistic transcendence. On the night of the concert, Jarrett faced an out-of-tune, subpar piano — far from what any artist of his caliber would expect. Yet, moved by his connection with the young concert producer and guided by intuition, he chose to perform anyway. What followed was nothing short of miraculous. The limitations of the instrument became the source of innovation; the music unfolded with fluidity, tenderness, and radiant spontaneity. Every phrase feels alive — a meditation in sound that balances vulnerability and strength, restraint and ecstasy. This recording is not just a jazz performance; it is a testament to the power of the human spirit, creativity, and presence. A true masterpiece born from the unexpected.

I was one of the few who discovered Jarrett's solo work through recordings other than this one (I first heard "Concerts" and "Solo Concerts" many, many years ago and only discovered this one about two years ago), and for that reason it took a little longer for me to really understand and appreciate it...not because it lacks anything, but only because other Jarrett works held a special place in my heart. Now, as my appreciation of all of Jarrett's masterful recordings has increased, I can appreciate this, the Cologne Concert, for what it is: A transcendant piece of music in its own right, unique from all the others. The story of its creation is remarkable: Jarrett was forced to play on an inferior piano with weak high and low ranges...as a result he concentrated on the midrange, accentuating that particular instrument's potential and creating music that sounds unlike anything else he's ever done. I initially thought it was "lighter" in texture than his other solo work (particularly the two mentioned above), now I realize that it simply speaks a different language. I think that hard-core Jarrett fans tend to regard this album with just a bit of suspicion, precisely because it has enjoyed such continuing popularity. This, of course, is nonsense: Just because this particular album enjoys mass appeal doesn't take anything away from it, and it is not this album's fault that it has spawned a score of imitations from lesser artists. The "bottom line" is that this album contains a special quality, a "magic" that transforms it into music for the ages. From the opening expression (listen for the barely-audible sound of a woman's laughter right after the first five notes) "the Cologne Concert" captures something mystical, and beyond explanation. If this is your first exposure to Keith Jarrett, I envy your voyage of discovery. Just don't let it stop here.

I have it on vinyl (2 lp) album and taped it on a personal cassette without the audience clapping along with some John Fahey guitar music and now I've purchased one used CD for myself and another used cd a couple months later for my niece (trying to get her to memorize the first 3 minutes of Part 4). I have listened too it for years and still love it. Both vendors quickly sent the cd's out.

What is to be said that hasn't already been said? This is the most popular jazz solo album ever, and the most popular piano solo album ever... over 4 million. A pastoral piece, always puts me in a contemplative mood. And the reason it sounds so peaceful? It is played only on the midrange notes, because the low and high notes on that particular piano weren't working very well.

I can hear my beloved music theory teacher mocking Keith Jarrett even now. He derisively said that his extended solo piano improvisations are too "modal" and "meandering" in their tonality. And then turned around and said Chopin and Beethoven's music is great, in part, due to their "extension" of the modal composers techniques that came before them--and this includes Gregorian Chant. As any half aware person knows, Gregorian Chant is COMPLETELY modal and has no system of "modulation" as we commonly would define it nowadays. Anyway, this CD is wonderful. I never get bored with the sounds on this CD. Jarrett's turn many corners but never strays from the "idea" in his improvisations. Being a great musical improvisor is hard--PERIOD! The tonal subtlety and emotional content is stunning. He has great chops and tech, as well. I had this recoding when it first came out on vinyl--I find it's charm and brilliance as compelling today as it was then. In fact, its depth is so hefty, I can still pick out new subtleties today. I suggest that you read this in depth analysis and historical perspective along with listening to this great CD: Keith Jarrett's The Koln Concert (Oxford Studies in Recorded Jazz) The score is also a must: The Koln Concert: Original Transcription

Sulla qualità artistica di questo concerto così famoso, c’è poco da aggiungere quindi non mi dilungo sulla capacità di improvvisazione e tecnica da “campionato a se’ “ di Jarrett. Per quanto al vinile, ho riscontrato una buona dinamica, fruscio quasi assente e solo qualche leggero “scrocchio” nella terza parte (prima faccia del secondo LP) ma talmente isolato che ho pensato bene di non fare il reso. Impianto hi-fi di buon livello ma nulla di esoterico (Roksan ampli,’Project Pro piatto, AT VM540ML testina) che restituisce un piano perfettamente equilibrato ed una scena sonora però piuttosto stretta e lievemente sbilanciata sul lato destro (cosa riscontrata anche sulla mia copia CD quindi non dovuta a mal regolazione di anti skate o VTA). Da avere assolutamente in qualsiasi collezione.

Um dos maiores discos da história! Fabuloso!

am 24.1.1975 gebar keith jarrett diese improvisationen, indem er mit der melodie des pausengongs der kölner oper als grundlage der immer weiter ausufernden improvisation begann. kurz ist die daraus resultierende heiterkeit im publikum auch auf der aufnahme zu vernehmen. jarrett entwickelt wunderbare melodien, die sich immer wieder schließende kreise bilden. vollendete klaviermusik voll innerer kraft und schönheit bei der man hören kann, wie sie im kopf des pianisten entwickelt wird. ruhig und doch ekstatisch ist sein spiel, atemberaubend die spannung, die er immer wieder durch innehalten, durch seine unbarmherzige langsamkeit entwickelt. dabei stand dieses konzert von beginn an unter keinem guten stern. der von jarrett ausgesuchte flügel langte nicht rechtzeitig ein, zur verfügung war lediglich ein mäßiger stutzflügel, der noch dazu verstimmt war. jarrett musste von vera brandes, der veranstalterin mühsam überredet werden, überhaupt zu spielen. das konzert wurde dann für interne zwecke mitgeschnitten. später wurde diese aufname von manfred eicher für ECM produziert und von martin wieland gemastert. erfolg ist natürlich nicht zwingend ein qualitätskriterium, aber rd. 3,500.000 verkaufte exemplare einer schallplatte/CD, die improvisierte pianomusik enthält, sprechen schon für sich. "köln concert" ist damit die meistverkaufte jazz-soloplatte und auch die meistverkaufte klavier-soloplatte. jarrett selbst möchte diese aufnahme zwischenzeitig am liebsten einstampfen lassen, hat ihn doch der geburtsvorgang zuerst viel substanz gekostet, dann gab es viel hin- und her über transkriptionen in notenform (jarrett gab schließlich die erlaubnis zur veröffentlichung) und es nervt ihn wohl, immer auf diesen, seinen größten erfolg, angesprochen zu werden. es wäre schade darum. millionen menschen haben wohl schon berauschend schöne momente mit dieser musik erlebt. zb hörte ich diese scheibe einmal im zuge eines segeltörns als die sonne aus dem meer stieg, wind aufkam und der katamaran immer schneller über das spiegelglatte meer glitt - so was vergisst man nie wieder... nun ist es also schon wieder mehr als 35 jahre her, dass diese großartige aufnahme entstanden ist, die vinyl-auflage zum jubiläum hat eine weile auf sich warten lassen. aber jetzt gibt es sie wieder, die legende, die vermutlich schönste und berührendste solo-piano-platte aller zeiten. sie klingt noch durchhörbarer als das original, da ist gute arbeit beim mastering geleistet worden. die angesprochene heiterkeit im publikum ist deutlicher wahrzunehmen, auch jarrett's mitwimmern ist klarer und abgegrenzter zu hören. selten trifft das attribut "must have!" so zu wie hier!

C'est un chef d'oeuvre qu'il faut se donner la peine d'écouter depuis la première seconde jusqu'à la dernière, surtout ne pas s'arrêter aux 15 premières minutes qui sont incroyables. Je l'ai écouté des dizaines de fois, je suis toujours totalement circonspect : je ne comprends pas comment une improvisation peut générer ça. Si le divin existe, vous le trouverez ici.

this audio cd got here a day or two quicker and it sounds great! i had heard of this concert a few months ago and am glad i ordered it! thanx!