Everything was wrong, but that concert is the best piano piece ever! My best cure for any bad feeling for more than 30 years. And I'm so grateful to God, that gave us Keith ❤❤❤
I also believe that since Jarrett did not like how the lower and higher register keys sounded on that piano, he stayed mostly in the middle register. That's what gives the music a singular quality.
Everything fucked up. Yet it was some of the most beautiful music i have ever heard. You were blessed, Keith. And so were we. Eternally. Evertthing is gonna be alright.. d. s. of the most bsUriful
Listening to that album, you'd never know this... It's a true Masterpiece. Hearing Keith's voice for the first time after all of these years of never hearing him talk is a real treat. I'm also now convinced he's a White guy. He truly looked like a Black man back in the day, not to mention his playing. Next to Herbie and George Duke one of my heroes from the 1970s.
If you listen closely, you can hear people laughing when the first four notes are played. That because these four notes were the same as the Koln Opera House's signal bell that announced the beginning of the concert to the audience.
The photos from thew Koln Convert are not from koln. They are from a concert in Berlin. I met the photogrpager wolfgang frnkenstein and he had a great series of phots from Berlin.
perhaps this "wrong" piano, because it was something he didn't know, helped him finding some more inspiration, and turned this concert to such a masterpiece.
You do know that they are the same city? Cologne is the Romantic/English version of the German Koln, and the uploader is obviously German, so knows this. Who knows what his reasons were for doing this...
Wenn es ist moeglich....Koennte Ich die original file haben ? Ich bin in der USA..Also Kann ich nicht sehen das program( Wenn ich versucht, es gab eine fehler...) ...Ich brauche das programm fuer meine jazz research class...
@TheBelva85 what the fuck? I have never heard about Vienna or Paris concerts being popular among "the masses". The Koln Concert is probably the only thing he made that is recognized among people who have no clue about jazz. Vienna, Paris, Lausanne - these are true works of art.
...wish I have simular problems... ...got the wrong piano already,but no heat,no food... Audience are not going to concerts any more.They download what they want to hear.
No sleep (everything is always under construction), bad piano, really bad italian food (especially the pizza. ach. ) Been there , done that. Does ANYBODY know a good pizzeria in Hessen? 22 years and tried so many and only got mediocre at best. Danke in advance.
Oh, Jarrett was difficult to deal with in his day, more so in American solo concert settings. I was at one of them and he got rattled by a couple of things, stormed off twice and returned to lecture the audience. Some people walked out, wanting their money back. Yeah, it wasn't a good look. But I guess it happens every now and then.
I seriously doubt that the Cologne Concert was born out of improvisation. He probabky had his collection of themes and the rest was like a normal improvisation on a standard in the real book. But the audience and the consumers are ......
It was an improvisation based on quite simple (intentionally) harmonies. am to G major for example. There is no standard that hangs on those 2 chords as long as he did. It was not "like improvising on standards". Of course some it, harmonically came out of standard changes. Part of summertime? sure, but must he invent new, accessible changes, harmonies top to bottom for it to be "pure improv" ? Yer asking a bit too much of a human guv. There's only 88 notes and a limited number of way to configure them that sound good, that WORK. Most have been thoroughly explored and used in classical music. Some of the chord patterns, probably all were used somewhere sometime between Bach and the Beatles. so yeah, summertime for a few bars, and then.. you tell me how he got to Ab. That's a bold on the spot move. am am/g# am/g Also used in Stairway to Heaven. but then he goes to Abmaj and then another nice subtle change that i can't recall offhand. Yes it was improvisation. Themes he may have touched on at home on the piano and used, and forgotten, and they came back as he played at Köln. Then, expanded and cut and pasted a bit. I do that, we all do that. The right hand passages, all 5 billion of them, sure he probably played some of them at home. Tell, me. If he plays part of C major scale on his improv. is that "cheating"? We all only play rearranged bits of what we practiced when we improvise. I have come up with some pretty good "themes" improvising, at home, and on gigs, live, similar to the Köln bits, things i never played before. I can't take them to all the wowzer technical places Jarrett can, but I can easily imagine doing that, if i had his chops and experience. But, since I am a poor reader, barely able to handle intermediated classical music, and a very late starter (at age 25), and kinda lazy, and Miles is dead and Jack de Johnnette and Paul Motian don't return my calls, I'll never have the experiences he had live, so nah. probably not gonna happen. There are analyses on youtube of the left hand movements, the harmonies, and then the counterpoint he alters on his shorter standards trio intros and the expert listeners are astounded at what he's able to do on the spot with far more complicated changes than the ones he used in Köln. So, yes he can improvise a theme live, not relying on bits he saved up to play at Köln and then lie about it to hype the sales of his records. Maybe he was lying. Maybe he used 4 or 5 themes he worked out at home. You don't believe him. I am not 100% sure, I was dubious when I first heard it, before i could play a lick of jazz. But the more I study piano, harmony, composition, and the more I myself improvise, the less doubt that he played them for the first time there. Rick Beato describes the "composition" of a couple of minutes of music from another concert as "the most beautiful 2 minutes of music...." Check it out. He kept it all at Köln within his "purview of acumen" , when stating the themes. He played am to G I can improvise a decent melody/theme, playing that over that ii to I pattern. Easy peasy. I could improvise 100, all different. You have so many notes available, mostly white keys, gospel , blues, country jazz ii to I or sus V to one, a little chromatic movement to make it interesting, and then move away to a "random" key like Db. Very slow tempo. 4/4 time. jesus. It aint that hard. I may do it, just so you can chew on it. If you challenge me to do so, I will make a vid and post it. (if you're still alive and checking comments 10 years on) He only stretched out technically, and bit harmonically on the development and "soloing", any from the stated themes. And even those were way more inside than things he did later, the much denser, darker, bordering on atonal stuff. Shit, if he could keep those improvs. together so they made sense, comparatively speaking, these themes are child's play. He was solid, good enough that he could do that, choose a simple left hand pattern and create some interesting counterpoint and cleanly perform it on the spot. simple ones, like at Köln, and much more complex ones later on. You doubt it because you can't do it, and you can't imagine a human doing it. There are musical minds bigger than yours or mine Buford. Believe that. So doubt. I did too, when i first heard it, but the better i get, the more I find his claim believable. It's easy to doubt that a musician could do what he did on the spot, that it's just some hype statement he made to sell records. I believe it and I am the ultimate cynic. Maybe i'd just like to believe it, because then it maybe i could do it to. I believe it because i have done similar things at home, no pressure, and certainly not on his level, but , let's say, a "decent try". When I turned on the recorder, I tightened up and lost the flow, predictably. worrying about the results. I have played some decent improvs live, with a clearly stated good theme i made up on the spot. Some of us can do that. He was able to overcome the fear, the constant internal critic and doubter and was able to let it flow, because he was arrogant enough and confident enough in his abilities. Good on him. Bravo Keith. Again, having played similar types of improvs. myself, at home, and even live, certainly not at his level, but similar in form, style (jazz, blues, classical, "ethnic") similar harmonic movement and development I believe him. Witness what he did on shit keyboards for 26 minutes behind Miles in Berlin. The ocean of new sounds and textures he was able to make, orchestrating on a one chord vamp. Unreal. That was astounding. No way he worked all that shit out in advance. No way. He played all that live, with a bassist a drummer and soloist. If you focus on what he plays, it stand up as a solo performance. Or a rhodes and a fender electric organ. Listen to the Berlin Miles concert and then ask yourself if he could come up with these relatively simple things on the spot at Köln, without having to negotiate the space for it in a loud "rock band". He has the technique to sustain the rhythm, the left hand pulse, without effort, UNCONCIOUSLY and his musical mind is free to let his lightning fast, amazingly prodigious technically right hand first come up with the melody or counterpoint, and then blast away for 10 to 16 minutes on it, with very little repetition in the right hand. Yeah, he could have come with all this music on the spot. If I , with my limited technique and experience can do a "passable" thing of this type, and I can, then yeah, Keith could definitely do what he said he did. If I had his chops, confidence and musical experience I could do it. It is not an impossible thing.
I always love hearing this perspective about Keith. There are literally hundreds of hours of recorded solo piano concerts and solo excursions during the trio and both quartet concerts. When you talk to the musicians who were there, they say that Keith played radically different things EVERY SINGLE TIME. I know it's hard for most musicians to believe that Keith can do this but the proof is in his catalog of recordings and live shows. He literally can't help himself.....he oozes improvisation and hates repeating himself(meaning his tolerance is almost zero for relying on playing things he already knows). Spend decades going to the piano and playing spontaneously and stopping yourself every time your internal filter reveals that you are treading over musical ground that is predictably familiar to yourself. Eventually, a small number of people who seemed to be wired this way, can get quite good at this pursuit. However you will also realize that Keith is a generational talent at this endeavor. To sum it up, you must either believe that he has perpetuated a lie for decades and works out(and then remembers and executes flawlessly) EVERY SINGLE THING HE HAS EVER PLAYED LIVE, or he has honed an innate skill and risked failure at every performance only to succeed in conjuring new music out of the ether with amazing consistency. I will die knowing it was the latter.
@@MarkTarmannPianoCheck_it_out what a great, knowledgeable, in-depth, emotional answer, bravo! Can you recommend TH-cam channels/videos where (jazz) piano pieces are analysed and explained?
@@MarkTarmannPianoCheck_it_outthe very last part is an encore called "memories of tomorrow" (listed as such on PREVIOUS concerts, even though it could be that at the time it didn't have a name yet)
Everything was wrong, but that concert is the best piano piece ever! My best cure for any bad feeling for more than 30 years. And I'm so grateful to God, that gave us Keith ❤❤❤
Crazy to think he almost dismissed the engineers who made the recording.
this concert is the best piano music ever, I heard once and once again, and I always dream
Yes - since 1978...
Except Chopin.
Incredible intensity and depth - a breathtaking inner journey, life-shaping to this day ...
I also believe that since Jarrett did not like how the lower and higher register keys sounded on that piano, he stayed mostly in the middle register. That's what gives the music a singular quality.
Intetesting
Everything fucked up. Yet it was some of the most beautiful music i have ever heard.
You were blessed, Keith. And so were we.
Eternally.
Evertthing is gonna be alright..
d.
s. of the most bsUriful
At least!!! See you in my dreams as long as necessary. Thanks 4 exact words i needed. Always somewhere 🌟🫂💖
This concert change my life forever. I discovered a new world. A new way of peaceful and revolution.
Listening to that album, you'd never know this... It's a true Masterpiece. Hearing Keith's voice for the first time after all of these years of never hearing him talk is a real treat. I'm also now convinced he's a White guy. He truly looked like a Black man back in the day, not to mention his playing. Next to Herbie and George Duke one of my heroes from the 1970s.
ummm... what?
So much positivity from this man!!
truly great musicianship
adorable Keith
sometimes great things come from having no expectations
If you listen closely, you can hear people laughing when the first four notes are played. That because these four notes were the same as the Koln Opera House's signal bell that announced the beginning of the concert to the audience.
The photos from thew Koln Convert are not from koln. They are from a concert in Berlin. I met the photogrpager wolfgang frnkenstein and he had a great series of phots from Berlin.
Always true ...surprised by Joy
Could someone please post the rest of this?
I wouldn't mind hearing the rest of the story...
perhaps this "wrong" piano, because it was something he didn't know, helped him finding some more inspiration, and turned this concert to such a masterpiece.
Jarrett is/was a genius. He didn't need a 'wrong' piano for inspiration. That's like saying Beethoven needed to be deaf to compose the 9th Symphony.
Need to hear the entire interview.
Yes, please!
Always my lovest music !
11 years and counting--and this title still reads 'Cologne' instead of 'Koln'--that's pretty wild ...
You do know that they are the same city? Cologne is the Romantic/English version of the German Koln, and the uploader is obviously German, so knows this. Who knows what his reasons were for doing this...
Wenn es ist moeglich....Koennte Ich die original file haben ? Ich bin in der USA..Also Kann ich nicht sehen das program( Wenn ich versucht, es gab eine fehler...) ...Ich brauche das programm fuer meine jazz research class...
@TheBelva85....he is!
@TheBelva85 what the fuck? I have never heard about Vienna or Paris concerts being popular among "the masses". The Koln Concert is probably the only thing he made that is recognized among people who have no clue about jazz. Vienna, Paris, Lausanne - these are true works of art.
is there more? gib's mehr?
awesome!
th-cam.com/video/qtEYUfcPTWQ/w-d-xo.htmlsi=KVEy_ipVV-jgxc3F
Very nice glasses, what brand is ???
Where's the res
any update? anybody know?
1:14 partial licc
The last piano genius
here is the official source for 15 minutes of the documentary: german public tv: snurl . com / zdfjarrett
...wish I have simular problems...
...got the wrong piano already,but no heat,no food...
Audience are not going to concerts any more.They download what they want to hear.
Are you flipping kidding me? Why is one minute 32 seconds of this here? Where is all the rest? This blows.
No sleep (everything is always under construction), bad piano, really bad italian food (especially the pizza. ach. ) Been there , done that. Does ANYBODY know a good pizzeria in Hessen? 22 years and tried so many and only got mediocre at best. Danke in advance.
They got him the wrong piano, the bastards! Bad Italian food, f*ckers! This man suffers for his art. So what if he's an a**hole? He a GD genius!
+Childe -- when you make an accusation such as the one you made do you have anything to support it? I never heard anything of that sort about Jarrett.
Oh, Jarrett was difficult to deal with in his day, more so in American solo concert settings. I was at one of them and he got rattled by a couple of things, stormed off twice and returned to lecture the audience. Some people walked out, wanting their money back. Yeah, it wasn't a good look. But I guess it happens every now and then.
Morality, don't forget to have bad italian food before you play
So
Much good music has been made hungover/food poisoning
Add a couple sleepless nights while we’re at it
uahhh wie unsympathisch
I seriously doubt that the Cologne Concert was born out of improvisation. He probabky had his collection of themes and the rest was like a normal improvisation on a standard in the real book. But the audience and the consumers are ......
It was an improvisation based on quite simple (intentionally) harmonies.
am to G major for example. There is no standard that hangs on those 2 chords as long as he did. It was not "like improvising on standards". Of course some it, harmonically came out of standard changes.
Part of summertime? sure, but must he invent new, accessible changes, harmonies top to bottom for it to be "pure improv" ? Yer asking a bit too much of a human guv. There's only 88 notes and a limited number of way to configure them that sound good, that WORK. Most have been thoroughly explored and used in classical music. Some of the chord patterns, probably all were used somewhere sometime between Bach and the Beatles. so yeah, summertime for a few bars, and then.. you tell me how he got to Ab. That's a bold on the spot move. am am/g# am/g Also used in Stairway to Heaven. but then he goes to Abmaj and then another nice subtle change that i can't recall offhand.
Yes it was improvisation. Themes he may have touched on at home on the piano and used, and forgotten, and they came back as he played at Köln. Then, expanded and cut and pasted a bit. I do that, we all do that. The right hand passages, all 5 billion of them, sure he probably played some of them at home.
Tell, me. If he plays part of C major scale on his improv. is that
"cheating"? We all only play rearranged bits of what we practiced when we improvise.
I have come up with some pretty good "themes" improvising, at home, and on gigs, live, similar to the Köln bits, things i never played before. I can't take them to all the wowzer
technical places Jarrett can, but I can easily imagine doing that, if i had his chops and experience. But, since I am a poor reader, barely able to handle intermediated classical music, and a very late starter (at age 25), and kinda lazy, and Miles is dead and Jack de Johnnette and Paul Motian don't return my calls, I'll never have the experiences he had live, so nah. probably not gonna happen.
There are analyses on youtube of the left hand movements, the harmonies, and then the counterpoint he alters on his shorter standards trio intros and the expert listeners are astounded at what he's able to do on the spot with far more complicated changes than the ones he used in Köln. So, yes he can improvise a theme live, not relying on
bits he saved up to play at Köln and then lie about it to hype the sales of his records.
Maybe he was lying. Maybe he used 4 or 5 themes he worked out at home.
You don't believe him. I am not 100% sure, I was dubious when I first heard it, before i could play a lick of jazz.
But the more I study piano, harmony, composition, and the more I myself improvise, the less doubt that he played them for the first time there.
Rick Beato describes the "composition" of a couple of minutes of music from another concert as "the most beautiful 2 minutes of music...." Check it out.
He kept it all at Köln within his "purview of acumen" , when stating the themes. He played am to G I can improvise a decent melody/theme, playing that over that ii to I
pattern. Easy peasy. I could improvise 100, all different. You have so many notes available, mostly white keys, gospel , blues, country jazz ii to I or sus V to one, a little chromatic movement to make it interesting, and then move away to a "random"
key like Db. Very slow tempo. 4/4 time. jesus. It aint that hard.
I may do it, just so you can chew on it.
If you challenge me to do so, I will make a vid and post it. (if you're still alive and checking comments 10 years on)
He only stretched out technically, and bit harmonically on the development and "soloing", any from the stated themes. And even those were way more inside than things he did later, the much denser, darker, bordering on atonal stuff.
Shit, if he could keep those improvs. together so they made sense, comparatively speaking, these themes are child's play.
He was solid, good enough that he could do that, choose a simple left hand pattern and
create some interesting counterpoint and cleanly perform it on the spot.
simple ones, like at Köln, and much more complex ones later on.
You doubt it because you can't do it, and you can't imagine a human doing it.
There are musical minds bigger than yours or mine Buford. Believe that.
So doubt. I did too, when i first heard it, but the better i get, the more I find his claim believable.
It's easy to doubt that a musician could do what he did on the spot, that it's just some hype statement he made to sell records. I believe it and I am the ultimate cynic.
Maybe i'd just like to believe it, because then it maybe i could do it to.
I believe it because i have done similar things at home, no pressure, and certainly not on his level, but , let's say, a "decent try". When I turned on the recorder, I tightened up and lost the flow, predictably. worrying about the results.
I have played some decent improvs live, with a clearly stated good theme i made up on the spot. Some of us can do that.
He was able to overcome the fear, the constant internal critic and doubter and was able to let it flow, because he was arrogant enough and confident enough in his abilities. Good on him.
Bravo Keith.
Again, having played similar types of improvs. myself, at home, and even live, certainly not at his level, but similar in form, style (jazz, blues, classical, "ethnic") similar harmonic movement and development I believe him.
Witness what he did on shit keyboards for 26 minutes behind Miles in Berlin.
The ocean of new sounds and textures he was able to make, orchestrating on a one chord vamp. Unreal.
That was astounding. No way he worked all that shit out in advance. No way.
He played all that live, with a bassist a drummer and soloist.
If you focus on what he plays, it stand up as a solo performance.
Or a rhodes and a fender electric organ.
Listen to the Berlin Miles concert and then ask yourself if he could come up with
these relatively simple things on the spot at Köln, without having to negotiate the space for it in a loud "rock band". He has the technique to sustain the rhythm, the left hand
pulse, without effort, UNCONCIOUSLY and his musical mind is free to let his
lightning fast, amazingly prodigious technically right hand first come up with
the melody or counterpoint, and then blast away for 10 to 16 minutes on it,
with very little repetition in the right hand.
Yeah, he could have come with all this music on the spot.
If I , with my limited technique and experience can do a "passable" thing of this type, and I can, then yeah, Keith could definitely do what he said he did.
If I had his chops, confidence and musical experience I could do it. It is not an impossible thing.
I always love hearing this perspective about Keith. There are literally hundreds of hours of recorded solo piano concerts and solo excursions during the trio and both quartet concerts. When you talk to the musicians who were there, they say that Keith played radically different things EVERY SINGLE TIME. I know it's hard for most musicians to believe that Keith can do this but the proof is in his catalog of recordings and live shows. He literally can't help himself.....he oozes improvisation and hates repeating himself(meaning his tolerance is almost zero for relying on playing things he already knows). Spend decades going to the piano and playing spontaneously and stopping yourself every time your internal filter reveals that you are treading over musical ground that is predictably familiar to yourself. Eventually, a small number of people who seemed to be wired this way, can get quite good at this pursuit. However you will also realize that Keith is a generational talent at this endeavor. To sum it up, you must either believe that he has perpetuated a lie for decades and works out(and then remembers and executes flawlessly) EVERY SINGLE THING HE HAS EVER PLAYED LIVE, or he has honed an innate skill and risked failure at every performance only to succeed in conjuring new music out of the ether with amazing consistency. I will die knowing it was the latter.
@@MarkTarmannPianoCheck_it_out what a great, knowledgeable, in-depth, emotional answer, bravo! Can you recommend TH-cam channels/videos where (jazz) piano pieces are analysed and explained?
@@MarkTarmannPianoCheck_it_outthe very last part is an encore called "memories of tomorrow" (listed as such on PREVIOUS concerts, even though it could be that at the time it didn't have a name yet)