There you´ll find other objections to the myth of Jarrett´s preference of the "middle register", by a senior piano technician of Bösendorfer pianos in Vienna. Who very much doubts the myth by sheer listening (he wasn´t present at the Opera in 1975; I was, but don´t remember much of the event).
At the PS of my piece you´ll find a video link to the circumstances, Jarrett´s grand piano is used today - by a male choir of a Cologne type of folk art.
now I am gonna have to go back and listen again. When that LP came out I was working in a record store in Harvard Square and the manager played it incessantly, because every time he did he sold a few. I have to admit that at age 21 or 22 it bored the hell our me because it wasn't Bud Powell or Charlie Parker. Plus I always thought Jarrett, though a great pianist, was insufferable with his hyper-sensitivity to audience dynamics. But truthfully, until you just wrote about it I hadn't though about it for more than 40 years. Now I am trapped in this half-memory, which is neither good nor bad but like an old shadow. And the only way out is to find it somewhere on Youtube and listen again.
It’s certainly not Bud Powell or Charlie Parker, and I get how aspects of Keith’s music are a turnoff, especially to musicians. Glad to give you something to think about Allen!
yeah, thinking gives me headaches, but it won't be the first time I had to go back and find out I was wrong the first time. 40 years can change musical perspective radically.
I need to relisten, it's been a while - there was a point about 30 years ago when I played it again and again and again (along with the later Vienna Concert). One thing I never realised until reading an article about the concert a few days ago...that trill at the start, apparently Jarrett was directly echoing the chimes within the venue that encouraged people to take their seats...
Turn it up and at 0:08 to about 0:10 you can hear the audience laughing at Jarrett's cheeky quoting of the "come in the theater now" chimes. Thanks for reading Hugo...
I have hated this recording for nearly 50 years, ever since my college roommate brought it home and put it on the turntable. It struck me, then and now, as formless and pointless, like a pleasant but aimless stroll in the park during which you sometimes notice the flora and fauna or have an idea that you want to write down when you get home. The music manages to be pretty much of the time, but never so adventurous or startling as to make you exclaim out loud: "wow, that's amazing." Because it's not. Thanks to the circumstances of its recording— "live" in concert—it escapes the dolorous fate of many ECM recordings of the era, which had a suffocating, antiseptic quality to their production, as if recorded in a hospital ICU or a nuclear weapons research lab.
It is quite a story behind the recording. I just remember the German ECM vinyl Lps I bought in New Haven, CT, going home and being mesmerized all the way through. At the same time I'm discovering the Art Ensemble of Chicago and Anthony Braxton (the Arista recordings), I am captured by the trance-like gospel music that Keith Jarrett produced. I like your idea the music is an extended "love poem" because so much of the music feels like a secular hymn. Thanks Vinnie!!
Right. I've heard that Manfred Eicher knew nothing about the film, which means we won't be hearing Jarrett's music, at least as played by Jarrett. If that's true, it's disappointing but typical of 2025. Thanks Steve!
What a well written - and well thought out - piece that is!
Starting with Valentines Day my first impression was: where the hell is this guy heading to?
I myself will add a small summary of Vinnie´s notions to my post on the subject on my blog jazzcity.de
https://www.jazzcity.de/index.php/jazzpolizei/3103-der-225er-boesendorfer-nr-28-952-am-24-januar-1975-in-koeln
(attention! it is in German)
There you´ll find other objections to the myth of Jarrett´s preference of the "middle register", by a senior piano technician of Bösendorfer pianos in Vienna. Who very much doubts the myth by sheer listening (he wasn´t present at the Opera in 1975; I was, but don´t remember much of the event).
At the PS of my piece you´ll find a video link to the circumstances, Jarrett´s grand piano is used today - by a male choir of a Cologne type of folk art.
Michael Rüsenberg, Cologne
Thanks Michael, nice piece!
now I am gonna have to go back and listen again. When that LP came out I was working in a record store in Harvard Square and the manager played it incessantly, because every time he did he sold a few. I have to admit that at age 21 or 22 it bored the hell our me because it wasn't Bud Powell or Charlie Parker. Plus I always thought Jarrett, though a great pianist, was insufferable with his hyper-sensitivity to audience dynamics. But truthfully, until you just wrote about it I hadn't though about it for more than 40 years. Now I am trapped in this half-memory, which is neither good nor bad but like an old shadow. And the only way out is to find it somewhere on Youtube and listen again.
It’s certainly not Bud Powell or Charlie Parker, and I get how aspects of Keith’s music are a turnoff, especially to musicians. Glad to give you something to think about Allen!
yeah, thinking gives me headaches, but it won't be the first time I had to go back and find out I was wrong the first time. 40 years can change musical perspective radically.
Solid post Vinnie - thankyou. It's comforting to hear you speak of its charm...I've dug it a long time but felt sheepish about the fact.
I yearn to know more of your reliable source, but the notion of a desire to connect adds a valuable dimension to the listening experience.
Respect and gratitude!
Yeah Casey! Wish I could say more about the source but the respect and gratitude wins out...
I need to relisten, it's been a while - there was a point about 30 years ago when I played it again and again and again (along with the later Vienna Concert). One thing I never realised until reading an article about the concert a few days ago...that trill at the start, apparently Jarrett was directly echoing the chimes within the venue that encouraged people to take their seats...
Turn it up and at 0:08 to about 0:10 you can hear the audience laughing at Jarrett's cheeky quoting of the "come in the theater now" chimes. Thanks for reading Hugo...
My Valentine’s Day evening was spent listening to a different pianist play solo! http://andrewjshields.blogspot.com/2025/02/brad-mehldau-solo-piano-martinskirche.html
I have hated this recording for nearly 50 years, ever since my college roommate brought it home and put it on the turntable. It struck me, then and now, as formless and pointless, like a pleasant but aimless stroll in the park during which you sometimes notice the flora and fauna or have an idea that you want to write down when you get home. The music manages to be pretty much of the time, but never so adventurous or startling as to make you exclaim out loud: "wow, that's amazing." Because it's not. Thanks to the circumstances of its recording— "live" in concert—it escapes the dolorous fate of many ECM recordings of the era, which had a suffocating, antiseptic quality to their production, as if recorded in a hospital ICU or a nuclear weapons research lab.
Don’t underestimate the value of an aimless stroll in the park.
It is quite a story behind the recording. I just remember the German ECM vinyl Lps I bought in New Haven, CT, going home and being mesmerized all the way through. At the same time I'm discovering the Art Ensemble of Chicago and Anthony Braxton (the Arista recordings), I am captured by the trance-like gospel music that Keith Jarrett produced. I like your idea the music is an extended "love poem" because so much of the music feels like a secular hymn. Thanks Vinnie!!
Thank you Richard! Enjoying Step Tempest on Substack— jazz goes on and on…
The fable is about to grow larger…evidently there's now a feature film – NOT a documentary – about the making of this album. https://www.hollywoodreporter.com/movies/movie-reviews/cologne-75-review-john-magaro-keith-jarrett-mala-emde-1236138113/
Right. I've heard that Manfred Eicher knew nothing about the film, which means we won't be hearing Jarrett's music, at least as played by Jarrett. If that's true, it's disappointing but typical of 2025. Thanks Steve!
Great writeup!
https://www.theguardian.com/music/2025/feb/10/koln-concert-keith-jarrett-jazz-masterpiece-piano?CMP=Share_iOSApp_Other