The Köln Concert

This is another prime example of the stuff I enjoy seeing pop up on this project. I have never heard of OR heard this, and the story behind it is simply amazing. In a series of mistakes, Keith Jarrett was left with an incredibly subpar rehearsal piano to perform on for a sold out audience, versus a very specifically requested grand piano befitting a piano master. What resulted was an hour of pure piano improvisation; that's right, Jarrett switched everything up and composed and played on the fly, all in a way that would fit the rehearsal piano's limited capabilities and allow for the best possible output. All the while, Jarrett can be heard occasionally stomping and vocalizing along with the work; you can tell that he feels what he's playing. This album speaks to overcoming hurdles, being present in the moment, and being open to spontaneity; a variety of chaotic events led to this and it could have resulted in a cancellation or even a performance ruined by the limitations of a specific instrument. But instead, these events occurred, Jarrett agreed to play, and his musical genius flowed, allowing for this unique masterwork to happen, something that would not be readily replicated even if one tried. I feel like the genre label of "jazz" on this album is a bit misleading. While I definitely hear aspects of jazz, this also resonates with some very classical solo piano qualities. I don't want my rating to be misconstrued with the idea that I think classical music is the best thing I've heard on this project. While I do really enjoy classical piano music, I don't regularly seek it out, and it's by no means an absolute "favorite" or "preferred" genre. Rather, my rating comes from now knowing that this album is 100% improvisation on a shoddy instrument; it is a creative breakthrough birthed from chaos. This album very clearly communicates an undeniably masterful craftsmanship and an inspiring message of spontaneous human creativity. This really is something that people could benefit from hearing before they die, and I couldn't possibly rate it any lower.

Wow, amazing! As I make my way through these 1,001 albums, I think I will look back at Jarett’s Koln Concert as the one that finally got me to appreciate this genre. I mean I didn’t need a class in music theory or have to read a critic’s detailed explanation on why I should enjoy this. I was just blown away by the music which transported me to a place where I could see this artist on stage painting brilliant scenes with his music. Really this performance has rewired my neurons to fire differently now. Bonus note how I appreciated the record producer’s decision to leave in the applause so the listener will know that the audience knew they were witnessing a magical special moment. Bravo!

Nice songs, interesting background story. But 1 hour of solo piano playing ends up just being background music.

I think this album really represents something unique - a special piece of music you should hear before you die because of it's interesting story, not just because of it being an influential album. Would love to see more good, but novel recordings included in this list that have fun stories like this one. You could probably get rid of some repetitive beatles and bowie albums to fit in interesting things like this instead. || Moaning throughout was hilarious, and the music is great. but itis the story, the ridiculous circumstances of the performance and improv, and novelty of it all that bumps this up from a 3.5 to a 5 in my eyes.

To simplify…a musician with a bad back who was hungry, slightly grumpy and playing a piano that wasn’t even the one he asked for and was substandard at that, improvised this piano solo. I’m blown away by it and the talent of the musician. I wouldn’t term this as Jazz, just an absolutely beautiful piece of music. 5/5

that was actually really cool just a dude messing around with the piano for an hour i don’t know if i’ll be listening to it again very soon but i still really appreciated it for what it was to think this dude could create such beautiful pieces off the top of his head just blows my mind i love his talent and i think that album is very special to me 10/10 - no complaints, just a great album

“I’m tired” “I’m hungry” “My back hurts” “This GRAND piano isn’t as big as what I wanted” Oh suck it up jazz wanker, play Rocket Man or something. He did hit some decent notes though.

Hard to hate. But hard to love too.

If this was a footballer, it'd be Dimitar Berbatov during his career wind down at Fulham.

I've heard of this concert before, pretty sure I read about it in a book, but I can't remember exactly where! Really fascinating story though, that such an engaging concert was performed under such difficult and ridiculous circumstances. Could have done without the moaning throughout, but maybe that's part of his style? Plus when you're improvising and suffering from back pain I won't fault somebody for making odd noises

I... I wish I was cultured enough to can. But unfortunately, I cannot. I am an uncultured swine who cannot discern anything other than competently played piano. I'm going back to Slayer.

I hated this one. The moaning, the extended clapping, the aimless improvisation that felt like it went nowhere for lengthy periods of times. I clearly am not the audience for improvised jazz

It's improvised ????! It's soooo fucking cool, smooth yet so upbeat at the end of the first part. What an awesome listening

Fenomenal concert recording. I am pretty much speechless, whatever happened to Keith Jarrett on that faithful day in Cologne was amazing. Looks like from now on I will be on a hunt for a vinyl version of this concert.

The infinite power of being at the current moment. Beautiful. I wish I was there.

I actually discovered this in the early days of the pandemic when I found myself hardly able to listen to music. This has been a constant in the period since. Technically, it’s wonderful of course, but it’s also been that bit of a lifeline for me.

Now this is jazz I can get behind. The first track is absolutely gorgeous. I wasn't paying close attention at first (jazz is usually background music to me), but about 4 minutes in I found myself drawn in and captivated. I ended up transfixed the entire time. Beautiful track. The second track is outstanding also, and I love how there were so many unique motifs on this album. Too many jazz albums sound like "more of the same." This album was constantly evolving and flowing. Mind-boggling that this is mostly improvised. I spent the day playing this album on repeat and kept finding new moments that surprised me. This is what jazz should be. Outstanding.

Lift music. If they were playing this in the lift, I'd take the stairs.

When I sit down at the piano, I always have the Köln Concert in mind. This is an album that worked like a little worm in my head, over many years, that slowly changed my playing, my approach to writing and performance, and my entire stance on how important it is to capture a moment is exactly as it is. Because that's what we're witnessing here: a captured moment. No artifice, no stage directions, no scene changes. Just a man versus the piano he was given. It's so, so beautiful. You can forget exactly how special it is that we have this on tape by spending too much time admiring Keith Jarrett's playing, or wondering, "how is he that good of a player?" You can forget that your job is to lose yourself in the same moment as he was in, as the audience was, when this took place. I'm so happy we have beautiful recordings of moments like this. It's why I collect recordings like this. It's why I love jam sessions, throwing a mic up, just living in the present with my recordings. It's really an attitude toward living. And it's SO BEAUTIFUL. God, Keith Jarrett. Thank you. A brilliantly-captured and well-deserved 5/5

Jazz instrumentals is not my usual cuppa, but some of the playing on this one made me stomp my feet and bang my fingers on the office furniture. Not sure how much of this is down to the fact of age or the sheer musicianship on play. The guy improvises hooks that a team of songwriters would spend weeks in a studio to create.

So so awe struck by this album. The improvised notes on a broken piano was a pure virtuoso performance of a talented master. Wish I could have heard it live. WOW

Do you like the music from Peanuts but want to seem more cultured? This is the ticket - and that is not an insult whatsoever.

There are some amazing moments on this album. I find it really poignant those moments when he struggles to find the groove and then suddenly it hits and the flow is just incredible. Some people are bothered by his vocalizations and I admit that it can become somewhat distracting but when you learn to listen around the vocalizing, to close your eyes and let the music wash over you it is a really all encompassing experience. 5 🌟

Quite a dramatic backstory to this helps the music come alive beyond what you hear initially. I was going to make a crass analogy with my history of Doordash breakfast orders, but Jarrett's performance is too good for that. Embraces the best of both "jazz" and "classical", and makes me imagine catching this live would have been the '70s equivalent of seeing Liszt at his peak, man. Listening to this at a high school football game, where nothing happens repeatedly, may have enhanced my appreciation somewhat; think less, but see it grow. Another one that makes me glad I'm doing this project, good stuff. If you're interested, the burrito I salvaged was pretty great too.

I encourage anyone who is about to listen to this record to also read about the story leading up to this performance. Absolutely ridiculous circumstances surrounding the show that really puts the songs in a different perspective. The music itself is great as well. Impressive improvisation throughout. Also surprising to me that a solo piano free-improvisation record became a best seller.

Very pleasant listen. Although I thought musically it was quite repetitive it kind of grows on you. The music builds up to a crescendo. I would have put it more in a light classical genre to that of jazz but I guess the overall tone of the piano was somewhat akin to jazz. It was hypnotic listening and very relaxing. 👍

What a phenomenal piano player, it’s just that I miss some kind of cohesion in the songs. Still, love the sound, but miss a clear path. Piano solo for an hour becomes background music at some point, but it still sounds incredible

Piano-instrument only which I love. Easy to listen to and have on in the background.

I wasn't a massive fan of this. It was fine and I enjoyed the bits that's sounded like The Sims music. I didn't like the weird grunting and singing along noises in the background. Off putting. A bit too long. Like obviously it was impressive piano playing so I'm not saying they're not a good piano composer/performer I just didn't really give a shit

A movie about the young woman who put on this concert just came out and I'm dying to see it. This album is a perfect selection for this list. There was probably a certain kind of smug turtleneck wearing mustachioed prick in 1978 who would prominently display this record when his dates came over, but there's a good reason why he thought this was a good marker. Simply a fucking brilliant performance by an amazing musician at the peak of his powers.

Jarrett's soft moans of encouragement to his piano are the cherry on top of this amazing piece of music.

Seeing this album on the list surprised me. I haven't listened to Koln in about eight years... In fact I'd almost completely forgotten about it and the life I was leading before the bright lights of Warwick uni took me to the Midlands. The record has a special place in my heart because the first girl I had a proper crush on and, crucially, also (briefly) dated showed me it. She was from one of the fancy schools in Bristol, could hear a song and play it back on the piano immediately, and got with me on sixth form results night. We then went out for about six classy weeks together. It was mega. Well, until she broke up with me on an indie club night on a boat. I had to wash up in a Brewer's Fayre for about ten hours the next day, I've rarely been more broken. The record itself is as good as I remember it. The opening section is maybe the finest solo piano performance around. It's all an improvisation and grows organically, in ways other pieces can't. Keith uses the whole piano, his feet and voice to occupy the place of an ochestra. The grunts and groans show you he knows exactly where he's going and how much he's feeling it. Perhaps most importantly for neo-classical music, Koln is a perfomance that's also very listenable. Jarret goes wild on the keys at points but also pulls back, giving the piece and audience space to breath and take it all in. I'd give it a five, but then again, Hettie also said I didn't kiss her enough when we split up in Thekla. You can't have your cake and eat it Ms Piano Girl. 4.5/5

It was the worst snow storm in 30 years. The piano was an old packing crate strung with fencing wire that had been dropped out of a third storey window. Keith Jarrett had smallpox, dysentery and one leg amputated below the knee. The crowd rioted because he refused to play The Chicken Dance. It was all recorded to wax cylinder. This is one of those records where the story is half (more than half?) of the pleasure of the album, and the story seems to get embellished with every telling. Really, this just 65 minutes of pleasantly lyrical improvisation, vamping over a few chords. But people talk about it like it's the Taj Mahal of improvisational jazz (which it ain't). I find this to be pleasant dinner party wallpaper. It's unchallenging piano bar jazz. It's jazz for people who want to tell you how much they like jazz, but don't actually like jazz. It concerns me that you can get the transcripts (arranged for piano or guitar!) for this album, and that people are learning it note for note. That's missing the whole point, people -- this was a moment in time, now go forth and improvise your own thing! I think that Keith Jarrett would agree. 2.5 stars, rounding up because it really is a great story, truth be told.

1. At last I get to listen to the full length Barry Norman theme. 2. This is the music played in Mel Gibson’s retirement home. 3. This album was better when they had Jarrett’s original song titles: “Sharon at the Rodeo”, “Miles Cut Yr Hair”, “Where’s My Currywürst, Vera?”, and “Tony, Get The Wheels!” This is obviously a powerful performance in its idiom, a record beloved by many, and a demonstration of what a virtuoso can do under what were apparently crappy circumstances. This is not something that was my jam today, but ended up being decent company for the hour before we went our separate ways.

All very pleasant. I do like piano music, think of I could choose any instrument to be a master of, it would be the piano. The live recording of the concert made me feel like I've had a glimpse into a world which I wouldn't have experienced otherwise. Bravo He looks like Howard Moon on the cover. Probably won't listen again, but glad I did!

I don't know what to rate this. On one hand, it can be viewed as an optimal "ambient listening album". You doing your chores or talking to someone in a social setting, I wouldn't mind this playing in the background. On the other hand, there are moments of brilliance in the music that make me want to rate it 5/5. But then again, for some people this may never warrant a revisit, while for others they will discover new things in the music on every listen. For some this is just glorified elevator or background music, while for others it is a landmark album. This the "Schrödinger's album". I have listened to it 3 times today, and I can't seem to make up my mind. I will rate it 3 as a middle ground, but that just seems unfair. So I will reluctantly give it 5

Mesmerising stuff. Officially the best selling piano album of all time, its brilliance drifts in and out but when it’s on it’s on like sky-high geysers of fluffy soothing fire and overall you do have this fantastic impromptu jet stream blur of jazz, classical, new age, gospel and immense ivory inkling soul. Plus a little bit of Jarrett’s trademark high frequency Bugs Bunny singing bleeding through too. There is actually a full-length movie made this year to celebrate the 50th anniversary but they missed a trick by not casting Eric Andre as Keith.

Sublime.

I was engaged the whole time despite that was a solo piano concert. You absolutely have to read about the backstory to fully appreciate the musicianship. It's proof that equipment does not matter. Only what you're able to put into it. It's fair to say he was able to make every single key count. That fact that it's a live recording makes even better. Like listening to a time capsule. 10/10

There's a passage in Part II b) at around 7 minutes which is nothing short of sublime - he produces a sound like a cello is accompanying him. His phrasings, his legato playing on the bass notes, his use of the sustain pedal all combining to give a fantastically controlled resonance. I don't know what a purist would think of the crescendo in Part II b) when there are clearly hints of off-notes in his excitement - you do hear the thinness of the treble notes here which makes it all the more impressive he manages to draw attention away from it for most of the concert (or 'gig'). In truth I feel this is a four, but with every listen it grows. Highly proficient but highly expressive which is the real genius. Impossible to understand in a short period of time l, and I can say confidently this will continue to appreciate every time I hear it. Like a fine wine really. Hence on behalf of my future self, I award it top marks.

I probably need a few more listens to really unpack and get a true feel for this record, but I’ll gladly do so. This is an actual “record you need to hear before you die”, I think, and I wish there were more like it on the list. Jarrett’s playing is dense and complex, with many moments of absolute beauty. That it was improvised live is even more impressive.

Don't really need to listen to this, but if you insist!

YES I knew I had encountered this album before! A fucking monster of a solo piano record. With all the vamping that occurs, this feels very close to a funk record, basically stripped right down to the studs.

It’s honestly crazy to me that this is all improv

Learnt from the wiki page the piano used was small and suboptimal (lacking in bass). Does not show however in the album, beautiful piano, upbeat and intense improv runs. Liked the change in tempo and styles throughout the tracks and album/

Considerably more enjoyable to experience if you know the backstory of the album before listening. Felt like you could hear the progression during Part 1, starting with individual asynchronous notes and melodies meandering into fully harmonic chords -- like he was testing the limits of what the instrument itself was capable of. A clear journey the artist is taking you on, before it culminates into something cohesive. Really cool, great addition to the list.

Really great album. Surprised it is on this list that is loaded with such garbage filler. Give a listen - good background music at work or on a task, nd give yourself a dose of class.

WHERE WAS THIS ONE WHEN I WAS STUDYING FOR FINALS 1001 ALBUM GENERATOR

This is actually not my usual Fair of albums solo piano improvisational jazz. (Quite frankly any solo one instrument album usually wears thin on me after a while due to lack of dynamics.) But quite frankly Keith Jarrett really keeps the dynamics going throughout the album and compellingly engaging especially the first piece. I did read the back story behind it and, I'm not a big fan of backstories of albums, just because most people will put that as the most important thing. However, it always works when the backstory actually backs up a rather compelling piece of work and I think that even without the backstory this would be a compelling piece of work. (8.95) ★★★★ I could see this grower, it being on the edge of four and a half makes me think that I might bump it up with further lessons .

Leuk verhaal, klonk soms ook beetje als Zelda. Eigenlijk 5 maar Justin Timberlake gisteren al gematst

Jazz is always a daunting genre for me, as I find myself either bored, hating it, or very rarely, in love. However, I feel like I've not gotten to encounter a lot of piano-focused jazz, let alone solely piano. I know how to play piano, or at least I like to think I do, so listening to this album, I was just in awe the entire time by the moments packed here. Many, MANY fantastic little ambient interpolations among chord progressions and passages of pure euphoria among Keith Jarrett's playing, and you can tell he is certainly into it as well, with his moaning and the such, which reminds me a little of Robert Wyatt. The first track, despite its length, has a ton of stuff to love, and is worth the price of admission, so the next three tracks are just cool bonuses. They capture the concert hall feeling perfectly, where you are solely focused on the playing, and very little else, and it can be entrancing. It is pretty long, and because of that parts of songs can feel unnecessary, but whenever a moment pops up I truly adore it all feels worthwhile. This may be a bit different of a jazz record, but it is pretty far up my alley, and I'm glad to have enjoyed it.

So I really enjoyed the Koln Concert album by Keith Jarrett – though I do tend to enjoy piano compositions by excellent musicians… I have enjoyed some of the longer piano pieces by Keith Emerson (ELP), Rick Wakeman (Yes), and the solo artist George Winston among others, and this one was right up there with them… Perhaps what contributed to my enjoyment, was the story surrounding it, as it’s just amazing… - Long drive earlier in the day from Switzerland to Germany for the performance, so late arrival… - Not much time for dinner, and then off to the venue… - Had not slept well for several nights, and was wearing a brace for back pain… - Had to play on a relatively crappy piano due to miscommunication of what he really needed… - Was a live performance, and the substandard piano had pedals and key sections were barely functional, so limiting what he could actually play… And then on top of all of this, Jarrett basically improvised all of the pieces he played that evening… It’s stunning to me that he could play that well given all of the issues that he was dealing with, and to create those compositions on the spot – as I find that truly amazing… Was awesome that the concert was recorded, and stands as a triumph of make the best of a challenging situation for sure… Enjoyed every bit of this, and never would have found it without the 1,001… This is stellar top-to-bottom, and gets a solid 4 form me – and would probably give it a 4.25 if I could…

Well this is just delightful, one of the best piano performances I've heard. Elegant but playful and expressive. Completely enjoyable to hear. The story behind this makes it all the more impressive. Fave Songs: Part I, Part II a

It's beautiful, and I love the background story of him requesting a specific grand piano for this performance only to be left with an out of tune baby grand piano. The fact that he improvised this, live, is impressive. However, it was really just... background noise. So it was hard to get into or have any sort of emotional attachment or reaction to the album.

Nr. 114/1001 Part I 3/5 (3x) Part II A 3/5 (2x) Part II B 3/5 (2x) Part II C 4/5 Average: 3,13 Really impressive that this was completely improvised

This was pretty good, overall. Nice as a background sort of thing.

I’m continually amazed at how this list keeps revealing corners of music I’ve never explored. Solo, improvisational piano—especially in a cavernous concert hall—is entirely new territory for me. With jazz, I’ve always wondered: how do they know when a piece is finished? In a band, each instrument tosses out ideas that others catch, expand, and return. Here, it’s one man alone, following the pathways of his own imagination. Keith Jarrett moves, within the same track, between passages that are cool and meditative and others that are tense and unsettled. What fascinates me most is that even his devoted audience seems to share my uncertainty—hesitant bursts of applause break out before full ovations, as if no one is entirely sure when a section ends. I can’t say I was swept away; for me, this was more of an endurance test than a revelation. But I can appreciate the artistry, the risk, and the sheer audacity of letting a performance unfold without a net.

I know this is listed by Penguin as a core jazz album. And I get the story behind it is very dramatic and interesting. But the music to me just isn't all that interesting. It's fine. But it doesn't inspire me or challenge me like I want jazz to do. I think it's telling of broader musical tastes that this is the best selling solo jazz album of all time. It's so middle of the road that it can appeal to everyone I guess. I've listened to this a few times now and each time leave wondering why? Why is this so acclaimed and popular? If you didn't know the story behind the record,.would it be as interesting? I can't imagine why. Whatever, this is my jazz snobbery coming out. I'd give this a 2.5 as possible. It's just so vanilla.

The performance was fair, but the sounds he made throughout were weird and distracting, even for a live album, where minor interruptions and inconveniences are to be expected and forgiven.

Very interesting finding out that this is all improv. Wasn’t really that into listening to just piano for over an hour but also didn’t hate it.

I am the music man. I come from far away and I can play. (What can you play?) I play the piano. Pia pia piano piano piano – Pia pia piano pia piano An hour of uninteresting piano playing. Dull!

ABSOLUTELY GOATED SHIT LET'S GO KEITH‼️‼️‼️‼️‼️‼️‼️‼️ if you don't like the jarrettnoises you are missing the point i fearrrr this man loves tunes so much he's moaning to the music get used to it 👏👏👏

Well now... this one struck a chord in me. I've heard it once before and I don't recall being moved by it back then, but upon listening more actively this time, it evoked a lovely sense of familiarity and homeliness. The ebb, flow, comforting major tonality and general structure of Part 1 reminded me a bit of John Butler's Ocean - one of my all-time favourite tracks - which set me up for a pleasing listening session throughout the rest of the album. That's not to mention the story behind the recording - to hear it almost never came to fruition! This is definitely at the top of my shelf when it comes to instrumental music. Magnificent stuff.

Väldigt välkommet med lite jazz! Det känns som att det varit allt för mycket rock på sistone. Har inte lyssnat på detta album på flera år, men visste att det låg i listan så det är ett av de albumen som jag har lite väntat lite på. Fantastisk konsert! Så otroligt uttrycksfullt. Älskar alla hans små stön och utrop. Man verkligen känner hur inne i musiken han är. Part II c, eller Memories of tomorrow som den också heter, spelade vi ett gäng gånger när jag pluggade. Gillar den skarpt.

Att detta är totalt improviserat har alltid övergått mitt förstånd. Bara vetskapen att det här sker i stunden där och då tillför så satans mycket till upplevelsen. Och att han dessutom spelar på ett kasst övningspiano som han hatar gör det ännu bättre. Dynamiken och de lediga övergångarna mellan stämningslägen och genrer är fan sjuk. Kommer aldrig sluta avundas de som fattar ett instrument på ett så här djuplodande sätt, som att det är en del av deras egen kropp. Man kan börja tro på Gud för mindre. Allt är otroligt. Svänget varvat med det finstämda och vackra och så hans röst som hela tiden fångas upp av micken, ena stunden sjungandes och andra stunden småstönande. 5a!!

A joy to listen!

A true testament to the creative process trudging through adversity.

wss nothing short of delighted to see this as the album of the day. best piece of improvisation OAT

I'll search for information about this iconic jazz album to provide you with a comprehensive review. Let me search for more information about the musical structure, themes, and critical reception of this album. Now I have comprehensive information about this iconic album. Let me provide you with an in-depth review. --- ## **The Köln Concert** (1975) — Keith Jarrett ### **An In-Depth Review** --- ### **Overview & Historical Context** Recorded on January 24, 1975, at the Cologne Opera House in Germany, *The Köln Concert* stands as one of the most remarkable achievements in jazz history—and arguably the best-selling solo piano album of all time, with over 4 million copies sold worldwide . What makes this recording extraordinary is not just the music itself, but the almost mythical circumstances surrounding its creation: it was entirely improvised, performed on a substandard piano, by an artist who was sleep-deprived, in pain, and initially refused to play . The concert was organized by 17-year-old Vera Brandes, Germany's youngest concert promoter at the time. Jarrett had requested a Bösendorfer 290 Imperial concert grand, but due to a delivery strike, the venue provided a much smaller Bösendorfer baby grand rehearsal piano instead—out of tune, with malfunctioning sustain pedals and a thin, bright upper register . Jarrett, who possesses perfect pitch and is notoriously particular about his instruments, initially threatened to cancel. Combined with back pain, sleep deprivation from a five-hour drive from Zurich, and food poisoning from a bad meal, the conditions were catastrophic . Yet Jarrett performed. And in doing so, he created something that transcended jazz, classical, and popular music boundaries. --- ### **The Music: Structure & Analysis** **The Performance Structure** The album consists of four continuous sections: - **Part I** (26:09): The monumental opening improvisation - **Part II a** (14:55): Transitioning from elegiac to more rhythmic territory - **Part II b** (18:14): Building intensity and complexity - **Part II c** (6:57): The composed encore (more on this below) **Musical Language** Jarrett's improvisation operates in what scholars identify as a "modal context"—harmonic progressions that don't follow classical jazz cadences like II-V-I turnarounds, but instead use "direct transition" techniques to modulate between tonal centers through common notes . This creates the album's characteristic suspended, floating quality. The opening motif—five notes that mimic the opera house bell calling the audience to their seats—demonstrates Jarrett's immediate responsiveness to his environment. From this simple cell, he develops a 26-minute journey that musicologists have analyzed as containing: - **Pentatonic scales** combined with pedal tones creating modal centers (reminiscent of Debussy's *La Cathédrale Engloutie*) - **Power chords** (root and fifth without third) providing harmonic suspension - **Contrapuntal dialogue** between short rhythmic cells in left and right hands - **Genre fluidity**: gospel rhythms, Middle Eastern trance influences, country flavors, blues, and classical romanticism all woven seamlessly The physical limitations of the piano ironically became strengths. The bright, thin upper register forced Jarrett to concentrate in the middle range, creating a more rhythmic, hypnotic approach than he might have otherwise taken . The instrument's deficiencies demanded a percussive, groove-oriented attack that gives the music its driving momentum. **The "Composed" Question** Musicologist Peter Elsdon's research reveals that while most of the concert was indeed improvised, the final piece ("Part IIc") was likely a pre-composed piece called "Memories of Tomorrow" that Jarrett had written earlier that year . This doesn't diminish the achievement—it was standard practice for Jarrett to end concerts with prepared encores—but it complicates the "pure improvisation" mythology. More importantly, Elsdon demonstrates that even "pure" improvisation isn't chaotic; Jarrett employed strategic patterns and "rescue maneuvers" when stuck, developed over weeks of touring . --- ### **Production & Sound** Produced by ECM founder **Manfred Eicher**, the recording captures the concert with remarkable intimacy despite the piano's shortcomings. Eicher later spent days in the studio working on the tape, and ironically, the album won awards for its sound quality despite the compromised instrument . The production choices were deliberate and influential: - **Minimal microphone placement** capturing both the piano and Jarrett's physical presence - **Retention of audience applause** reminding listeners they are witnessing a shared, temporal event - **Inclusion of vocalizations**—Jarrett's humming, moaning, and foot-tapping—which became controversial but essential to the document's authenticity The ECM aesthetic—clean, spacious, reverberant—perfectly suited this music. The label's 50th anniversary vinyl reissue (2025) demonstrates the recording's enduring sonic quality, with "Tubey Magical Midrange" that modern records struggle to reproduce . --- ### **Themes & Interpretation** **Presence & Imperfection** The album's central theme is **mindfulness**—being utterly present in the moment. Jarrett has described solo concerts as "the most revealing psychological self-analysis imaginable" and "like stepping onstage naked" . The Köln performance embodies this: an artist accepting limitation (the piano, his physical state) and transforming it into possibility. **The Architecture of Improvisation** Jarrett's approach treats improvisation not as randomness but as **spontaneous composition** with structural integrity. The music builds through "thematic episodes arranged in plateaux," each originating from rhythmic, melodic, or harmonic ideas that develop organically toward climaxes . This architectural approach—comparing Jarrett to Le Corbusier in his systematic yet creative method—reveals deep formal intelligence beneath the surface spontaneity . **Spirituality Without Dogma** The music radiates what producer Manfred Eicher called a "miraculous kind of quality" . Listeners consistently describe spiritual experiences—transcendence, emotional catharsis, meditative states—without any religious framework. The album functions as both "sophisticated background music" and "emotionally stimulating foreground music," serving different needs for different listeners . --- ### **Influence & Legacy** **On Jazz Piano** *The Köln Concert* fundamentally changed perceptions of solo jazz piano performance. It demonstrated that extended improvisation could sustain emotional and structural interest without ensemble interaction, existing material, or predetermined forms . Pianists like **Brad Mehldau** owe their solo recital careers to Jarrett's breakthrough . **Beyond Jazz** The album's influence extends across genres: - **New Age/Ambient**: While Jarrett disavowed the "New Age" label, the album's accessible, contemplative qualities spawned countless imitators (including George Winston), for better and worse - **Classical**: The recording introduced jazz improvisation to classical audiences through its Debussy-esque harmonies and formal coherence - **Popular Culture**: By the late 1970s and 80s, the album was ubiquitous in boutiques, wine bars, and bookshops, becoming sonic shorthand for sophisticated taste **Cultural Impact** The album made ECM Records financially independent and established the label as the premier venue for "chamber jazz" and improvised music . It proved that avant-garde-adjacent music could achieve mass commercial success without compromising artistic integrity. --- ### **Critical Reception: The Schism** The album inspires polarized reactions that reveal much about listeners' relationship to improvisation: **Acclaim** - "A certified work of genius" that "redefines jazz" - "The best-selling piano album of all time" and "landmark document" - "A lullaby for anyone who has no need for slumber" - "Proof that equipment does not matter" **Skepticism** - "A brilliant trick masquerading as jazz" - "Pleasant dinner party wallpaper" and "jazz for people who want to tell you how much they like jazz, but don't actually like jazz" - Criticism of Jarrett's vocalizations as "moaning" or "giving birth to a square baby" - The "background music" problem—some find solo piano for 66 minutes becomes ambient texture rather than engaging art --- ### **Pros & Cons** | **Pros** | **Cons** | |----------|----------| | **Unprecedented spontaneity**: 66 minutes of sustained, coherent improvisation without pre-planned material (mostly) | **Vocalizations**: Jarrett's humming and moaning distract some listeners, though others find them essential to the emotional document | | **Structural mastery**: The music maintains architectural coherence despite being created in real-time | **Accessibility vs. depth debate**: Some jazz purists find it too "middle of the road" or "vanilla" compared to more challenging free jazz | | **Emotional range**: From melancholy to ecstasy, intimacy to grandeur | **Length**: At 66 minutes of solo piano, it can become background music for inattentive listeners | | **Historical significance**: Changed the perception of solo piano in jazz and improvised music | **Mythology overshadows music**: The backstory (wrong piano, bad conditions) sometimes dominates critical discussion over the actual musical content | | **Production quality**: ECM's recording captures the concert's intimacy and acoustics beautifully | **The "New Age" association**: Spawned countless inferior imitators that diluted the album's innovations | | **Genre transcendence**: Appeals to jazz, classical, and pop audiences alike | **Part IIc is pre-composed**: The "pure improvisation" claim is slightly undermined by the prepared encore (though this is minor) | | **Inspirational narrative**: Demonstrates how limitation can breed creativity | **Physical demands**: Jarrett's subsequent health issues (chronic fatigue syndrome) may have been exacerbated by this intensity of performance | --- ### **Conclusion** *The Köln Concert* remains one of those rare artistic achievements where circumstance, limitation, and genius converged to create something unreproducible. The "wrong" piano forced Jarrett into a rhythmic, middle-register approach that became the album's signature. His physical distress may have lowered his inhibitions, allowing raw emotional expression to flow unfiltered. The late-night setting (11:30 PM start) contributed to the dreamlike, suspended quality. Is it jazz? Classical? New Age? It is none and all of these—**it is simply music**, created in the moment, captured by technology, and preserved as a document of human creative potential. Whether you find it transcendent or tedious may depend on your capacity for sustained attention and your tolerance for vulnerability in art. For those willing to listen actively, it offers a masterclass in improvisation as architecture, limitation as liberation, and presence as practice. For those seeking background ambiance, it provides that too—though perhaps at the cost of missing what makes it genuinely miraculous. **Essential listening for**: Piano students, jazz enthusiasts, meditators, lovers of spontaneous creation, and anyone who needs reminding that perfection is not a prerequisite for beauty. **Rating**: ★★★★★ (Masterpiece)

Probably one of the best instrumental albums I have ever listened to. I really enjoyed the vamping. The hoots during the song were a bonus.

I think this is a rare gem in that it is simply a virtuoso making do with a broken instrument, on no notice, and improvising a full hour of some really sublime music. It's some microphones capturing a single hour, uncut, 50 years ago and it's here for us to enjoy. Fantastic.

Just a nice bit of pianer

Improv. Think about that. Improv.

Increíble mierda. No conocía. El colega se lo tankea él solito. Una horaza de improvisarla sin estar en el mood y god damn. La primera parte esta increíble, y según empezaron a aplaudir yo pensaba que ya era el disco entero pero vi que todavía quedaba otra mitad y dije pero qué. Muy bonito. Me lo guardo bien guardado para ponérmelo en momentos chulos chill.

wow

This was fantastic.

What a great and unexpected surprise inclusion on this list; I had never heard of this, but it was amazing.

Not an album I'll likely listen to again, but one I'm happy to have listened to. Absolutely perfect for this list.

A beautiful piece of music!

The highest selling jazz album of all time, so pretty much bullet proof as far as criticism is concerned. Whether it actually is a jazz album is up for discussion. Some people say that its complete lack of jazz rhythm, jazz harmony or ... you know ... jazz kind of rule it out. If a solid hour of improvised solo piano in a kind of "70s modern" style sounds like something you'd run a mile from, then it probably is. But you might find that on another day, in another mood, at another time this is the most sublime thing you've ever heard and might just change your life.

Beautiful jazz improv. The live recording is so full of life.

Wow. Just wow. This is what I do this for. Discovering new things like this. This is beautiful.

An excellent Jazz piano album, made even more excellent by the story behind it. Albums like this are why I keep doing this project, even after a full week of British rock

I'm a sucker for a good "created great art despite the circumstances" story, and the wikipedia article absolutely elevated this for me

Never knew it, never heard it, now I have. Excellence.

One of the great benefits of doing this is when you get to hear an album you’re aware of but have never had a good excuse to listen to. So, Keith Jarrett. I expected something more austere, po-faced, clever but charmless. But this, dear reader, is none of those things. Excuse my French, but it’s an absolute fucking joy. Jarrett’s incredible talent is in evidence throughout but as a means of bringing his imagined melodies to us, not for musical show boating. Beautiful, thrilling music

This was wonderful to listen to. I've never come across a whole album of improvised piano music before and it was live. Great find!

Holy shit, that was gorgeous.

KJ is my favorite musician of all time and the KJT Blue Note box will be buried with me. I'm more partial to his work with his bands, but his solo work is incredible and this is probably the pinnacle of his solo records. If it were composed note for note, it would be an incredible, if scattered, achievement. That it was completely improvised elevates it to the stratosphere. I was blessed to see the Trio several times and KJ solo several times, and each time was unique and wonderful (and frustrating, for those of you who know his famous temper and the way it derailed some sets). This one would be high on the Time Machine list.

This was such a joy to listen to. I will come back to this for years to come.

Очень красиво

Immer noch ein unvergesslicher Meilenstein

An incredible piece of music played beautifully. With that backstory, it earns a 5.

Muy pesado para escucharlo en el coche pero que hermoso instrumental

Loved it jazz was jazzy

A lot of times the Wikipedia entry is interesting but doesn’t really change my view on an album. For this album it did. An improvised concert on an accidentally provided old rickety piano that was barely tuned hours before thr performance, leading to the artist changing his style to fit the instrument. The pieces are a little long for my preference and I’d prefer more distinct melody, so that brings it to a 4 instead of a 5 for me. Actually on second listen I retract that last statement.

So good I've listened to it three times.

Yo that was crazy, there were times where I had to remind myself that there was only one person playing the whole time

Awesome

Incredible piano album. I heard he had to use the practice piano because the grand piano he was going to use didn’t get shipped in time. I think that made it even better, the piano sounded like a rusty old car with an expert driver behind the wheel. Love his vocal inflections and passionate noises he makes.