Customer Reviews

Koln Concert

5 star:		(107)
4 star:		(11)
3 star:		(3)
2 star:		(6)
1 star:		(6)

 

 

Generally I resist the urge to hurl superlatives at something; but for this particular disc, only words like "transcendent" and "sublime" will do. Twenty years on, it still floors me.

The third track ("IIb") alone is a gem that is worth the price of the disc. I've listened to it a hundred times, and I continue to be astonished by the journey it takes you through: a steady progression over moody, lyrical landscapes, spiralling up to a jagged peak, urged on by Jarrett's mesmerizing left-hand work and annotated at the crest by his own gasped vocalizations, as if he, too, were amazed at the scenery. Its the climax of the whole concert --there's nowhere to go but gently retrace our steps back down to the sweet coda of "IIc". Truly a masterpiece of improvisation.

The recording that, unfortunately, launched a thousand New Age noodlers seeking to capture its mood in simplified imitation; its no wonder that Jarrett has mixed feelings about it. And yes, as a long-time fan, I wouldn't even say its his best work. But it still speaks to me across the years like few other pieces of music I have ever known, in any category. I can't imagine ever tiring of it...and those who have heard it know what I mean.

And finally: if you like Jarrett's solo piano improvisations but haven't heard 'La Scala' yet, PLEASE do yourself a favor and click on over to get it asap. More technically brilliant than 'Koln' (as you would expect given the interval between the two performances), and the encore of "Over the Rainbow" is achingly beautiful. An absolute must-have.

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've read most of the reviews about the Koln concert and basically you could sum all of them into three type of reviews: Those who loved it because it made them feel good without intellectual complications, those who feel the album is overated and shadows Keith's other superior outings, and finally those who defend intellectually the greatness of Koln from the intellectual nitpickers.

Keith's comments on this album have tempted the masses to react with intelectual prejudice to this album. It's easy to understand, because the music IS very accesible, specially the first part. I find most of the pseudo-intellectual Koln bashers hardly make a convincing argument against the obvious emotional depth of the concert. They feel intellectually ordinary if they let Koln sink too deep in them, and they would rather stand and claim 'it's not as good as everyone thinks', because it gives them the chance to sound interesting and, perhaps, closer to Keith's genius, as the man has responded quite negatively to Koln. Still, I bet that if Keith had kept his mouth shut, a lot of these pretentious reviews would dissapear. Later I will say why I feel Keith's comments on the album has been misunderstood by the intellectual bashers.

Simply put, the Koln Concert is trascendental. Of course, it doesn't have the harmonic complexity found in other Keith releases, like Vienna, La Scala and some of the Sun Concerts. This concert, however, has by far the most cohesive development in all of Keith's solo concerts. The first part of the concert, specially, is something that will never repeat itself in history. The aura that emanates from the music is impregnated with depth that can't be esteemed from theorical understanding. It's as spiritually uplifting as any music i've ever heard, and it vibrates with sincerity that perhaps obstructed Keith in posterior releases. Later Solo outings by Keith sound in contrast angrier and, perhaps, at times forced to drift away from the same grounds Koln does. Of course, Keith may have had other things in mind, but this concert really went beyond Keith's hand and continued on it's own. Comparing it to Vienna, for example, which is apparently Keith's favorite interpretation, the music is far less intellectual and smears with almost obvious simplicity. The opening theme in both part I and part IIa build on very simple structures for elongated passages. But the vibrancy in the music simply cannot be understood by analyzing it objectively. By the 6th minute of the first part, the whole piece has gone someplace else, it's not even earthly. The initial passage already sounded surprisingly confident and relaxed, and it surely anticipates something brilliant coming along.

Of special mention is the segue that connects to the final segment of the first part. Keith runs slowly down the same scales and like walking into the ocean it slowly brings you in. In that moment you can feel something amazing is about to happen, something heavenly. The final part of the first part is just undescribeable, it completely sinks into the soul. The harmonic background builds on three notes in major scale that just ascend to another dimension. It's just beautiful.

The second part continues the gospel-mood for the first part, and then slows down nto more mellow, darker toned territories, but still very much melodic. As another reviewed said, it is possible that Keith resents this concert because of it's obvious brilliance and hence the frustation of having done something that woul possibly never be matched again. It is hard to accept one's creative peak has passed. However, I would add to that, that Keith's resentment is even more understood is you can actually appreciate how intimate and personal this music is, and yet how everyone started making of it a form of enterteinment for the music-loving masses. Keith's transparence in this concert perhaps makes his obvious intimacy and introspection a little too obvious for the man himself, and even though we, the listeners have been blessed with something that is truly beyond what words and theory can describe, Keith lost his something in this concert, he was exposed as he never was. His later concerts are also ridiculously brilliant, but I still feel that universal magic of Koln is something else.

Finally, I advise you to forget Keith's comments and all the intelectual baffle about Koln and simply lose yourself in it. This was meant to be heard without any barriers, without expectations, just as it was created. Even Keith can't control this concert. If you are thinking about liking or not liking it, whether you are being ordinary for liking what millions liked as well, or if you push yourself to agree with the bashers of Koln while listening to it, then you will never let it sink and see for yourself whats the real deal. My point stands firmly: this is one of those albums that are so good you also feel bad when you hear them, because you only stumble upon them once in a lifetime. It is that good.

The first time I heard _The Koln Concert_ by Keith Jarrett was like slipping into a beautiful dream, only feeling more awake than ever before. If that seems silly, then you undoubtedly have never listened to The Koln Concert. It is inspiration at its finest. Keith Jarrett masterfully takes simple themes and develops them to perfection. It's hard to believe that he created this musical perfection at the same time he was playing it. Keith Jarrett is certainly one of piano's greatest musicians ever, and this album is without a doubt his finest and most important work throughout his distinguished career. Whether you are a jazz fan or not, this cd is a must-have

I put this album on January 1, 2000, as the reality of the 21st century dawned. I have been listening, humming, exalting, dancing, and weeping to this piece of music for almost twenty years. The rhythms, the soaringly lyrical melodies, the tasteful notes plucked at the moment of perfect ripeness -- all so familiar, and yet so completely fresh and alive. This album is the definition of "classic." The fact that it was improvised is all the more astonishing. There is absolutely nothing hackneyed or derivative about this music, even though parts of it are extremely simple. It is a direct and achingly beautiful transmission from the soul of phenomenally talented musician to lucky listeners everywhere.

This album, along with several of Jarrett's other albums is completely improvised. Can you imagine how difficult it must be to just sit down at the piano and play for 26 minutes and render something this exceptional? The problem with some reviewers casting negative comments based on repetitiveness is absurd. Many parts of this work are not even melodic.

I highly recommend I 0:00-16:00, IIa, and IIc. There are many parts of these works that are melodic and -not- repetitive.

The trick in this sort of improvisational music are the transitions. Jarrett is able to create logical transitions that sometimes flounder a bit... You think, "Oh boy, I think he's lost it here..." And then he starts something completely new that rescues the piece, blazes a new trail, but still succeeds in maintaining the original thematic element or melody of the piece.

I have literally probably listened to I about 100 times, and I learn something new every time. It's actually possible to sit down at the piano and play some of the song by ear, except for the crazy runs here and there.

I've read that this is the bestselling of all Jarrett's work, and it's easy to see why.

Can you imagine stepping into a concert hall in Koln Germany one night, not having any idea what this pianist is going to play or if you invested your money well in a ticket? NO idea what he's going to play. And yet he pounds out this collection of music?

This type of improvisation is what I would liken to impressionistic art. When you try to paint photorealistically, you have to stay between the lines and copy something exactly; just as classical or some jazz music. This album is a collection of notes splashed on the canvas in an order that is unplanned, chaotic, and -beautiful-.

For some reason, there seems to be an idea among many fans that the Koln concert is to Keith Jarrett as the Prelude in C sharp minor is to Rachmaninov - popular beyond all measure of its merits, eclipsing more worthy achievements. No, there's a reason why The Koln is the most popular of Keith Jarrett's live, improved solo concerts - it's the best. I've heard the Sun Bear concerts, Paris, Vienna, La Scala, and Bremen-Lausanne, and I love them all in their own unique way, but none of them touches the Koln concert in greatness. Koln may be the most famous, promoted and oft-cited, but it also happens to be at the top of the heap in Jarrett's prolific recording legacy. The spontaneous genius exhibited here has never been equaled on record, not by Keith Jarrett himself nor anyone else I've heard. Pay close attention and you'll discover many of the themes and motifs heard during this epic improv are based on the first six notes that he plays. It's nothing short of a miracle that such deep, rich, involved music could have been thought up on the fly.

I just recently bought this album after years of getting into Jarrett's Standards Trio, American and European quartets, and more recent solo output. Of course, I'd heard it before but had never given it much attention. Coming back to it, I realize it may be the pinnacle of Jarrett's artistry and one of the more profound musical statements of this century. Here, more than anywhere else, Jarrett's music seems utterly devoid of the information which constantly bombards our senses. For a long stretch in Part IIb, it is as if time stops and we live in lucid realization of something beyond ourselves and the materials that surround us. These moments are rare, even in music, and we can only thank Jarrett for acting as such a refined conduit for them.

If I had only one choice of solo piano album music to play for the remainder of my life, this one is it!

I won't repeat all of the wonderful comments that have already been made about this legendary "live" recording, nor am I going to react to all the negative words that have been said.

One simply has to listen for one's self, because enough has been written about The Koln Concert, and enough people the world over have come to love this work of spontaneously created art, that it's enough to want to understand the full meaning and emotional power of this performance.

And, the music here is capable of providing a lifetime of musical enjoyment. It is deep, profound, and enriching... if one allows the music to sink in...

...definitely one of the best selling jazz albums of all time.

If I had one piece of music only to listen to the rest of my life this would be it. It would be one of the greatest performances of all time, the fact that it is improvisational makes it all the more stunning. Nothing touches truer to my emotions than this work.