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Music : The Köln Concert
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Rating: 
- Overwhelming experience
The Köln concert is an overwhelming experience to listen to; every time again. With only the piano Keith Jarret touches your heart with the enourmous feeling he puts into every single sound. Don't play it as background music; is is too good for that!
Rating: - Jarrett's Classical Roots
Those who buy this album expecting to hear a swinging jazz pianist will be very surprised. While jazz improvisation is obviously very prominent on this recording, the entire concert has a distinctly classical mood. Absolutely beautiful.
Rating: - After about 25 years
..After about 25 years I've come back around to listen to the Kohln concert. It still matches the visions in my brain. What a wonderful experience -even after Bill Evens...
Rating: - A "must-have" for the avid Jazz listener.
Having been exposed to Jazz as a child and coming from three musical families I am very sensitive to music and Jarrett's perfomance moved me in a way only Billy Strayhorn (on piano) and Lester Young (on saxophone) had done so before in a duet of Duke Ellington's "Soltitude."
This is an essential "must-have" for the avid Jazz listener. ^..^~
Rating:
- Probably the most approachable Jarrett there is
The artistry on this work is unmistakeable Jarrett and I daresay that it has never been duplicated, by KJ or anyone else, since. How in the heck one guy can keep one song going for a half hour (or more) I'll simply never know. But what really drives this recording is the sound. The piano is just not quite right, and the upper and lower registers sound like two completely different instruments. Indeed, in the first song, the bass is so pronounced and so oddly sounding, it had me looking at the liner notes to see who the bass player was. (No wonder Keith doesn't drive down into the low notes like he does on his more recent work.) Just the same, Keith works within the limitations of the instrument to evoke the musicality and feelings that he has in his brain and heart, and he makes them come out and soar over the instrument's shortcomings and limitations. That really impressed me. Another thing I like about this recording is that Keith's "Keith-isms", the shouting, whooping, moaning, and exclaiming that he is so well-known for, are just a bit more subdued on this work and as they follow the music closely, and are being covered up with a sort of tinkly piano, they don't distract from the music very much at all. That is not to say this is an average piece of music. It's a masterpiece, for sure. And although Jarrett may be popular and have sold beaucoups records and CD's, most music and jazz aficionados will admit he is not for everybody. This work, however, can probably find a welcome spot on any jazz enthusiast's shelf.
- Overwhelming experienceThe Köln concert is an overwhelming experience to listen to; every time again. With only the piano Keith Jarret touches your heart with the enourmous feeling he puts into every single sound. Don't play it as background music; is is too good for that!
Rating:
- Jarrett's Classical RootsThose who buy this album expecting to hear a swinging jazz pianist will be very surprised. While jazz improvisation is obviously very prominent on this recording, the entire concert has a distinctly classical mood. Absolutely beautiful.
Rating:
- After about 25 years..After about 25 years I've come back around to listen to the Kohln concert. It still matches the visions in my brain. What a wonderful experience -even after Bill Evens...
Rating:
- A "must-have" for the avid Jazz listener.Having been exposed to Jazz as a child and coming from three musical families I am very sensitive to music and Jarrett's perfomance moved me in a way only Billy Strayhorn (on piano) and Lester Young (on saxophone) had done so before in a duet of Duke Ellington's "Soltitude."
This is an essential "must-have" for the avid Jazz listener. ^..^~
Rating:
- Probably the most approachable Jarrett there isThe artistry on this work is unmistakeable Jarrett and I daresay that it has never been duplicated, by KJ or anyone else, since. How in the heck one guy can keep one song going for a half hour (or more) I'll simply never know. But what really drives this recording is the sound. The piano is just not quite right, and the upper and lower registers sound like two completely different instruments. Indeed, in the first song, the bass is so pronounced and so oddly sounding, it had me looking at the liner notes to see who the bass player was. (No wonder Keith doesn't drive down into the low notes like he does on his more recent work.) Just the same, Keith works within the limitations of the instrument to evoke the musicality and feelings that he has in his brain and heart, and he makes them come out and soar over the instrument's shortcomings and limitations. That really impressed me. Another thing I like about this recording is that Keith's "Keith-isms", the shouting, whooping, moaning, and exclaiming that he is so well-known for, are just a bit more subdued on this work and as they follow the music closely, and are being covered up with a sort of tinkly piano, they don't distract from the music very much at all. That is not to say this is an average piece of music. It's a masterpiece, for sure. And although Jarrett may be popular and have sold beaucoups records and CD's, most music and jazz aficionados will admit he is not for everybody. This work, however, can probably find a welcome spot on any jazz enthusiast's shelf.