{"id":11293,"date":"2019-06-13T10:52:21","date_gmt":"2019-06-13T08:52:21","guid":{"rendered":"https:\/\/hesmid.nl\/test\/?p=11293"},"modified":"2019-06-13T10:52:23","modified_gmt":"2019-06-13T08:52:23","slug":"keith-jarrett-the-koln-concert","status":"publish","type":"post","link":"https:\/\/hesmid.nl\/test\/keith-jarrett-the-koln-concert\/","title":{"rendered":"Keith Jarrett – The K\u00f6ln Concert"},"content":{"rendered":"\n
\nhttps:\/\/soundcloud.com\/baramuse\/keith-jarrett-the-koln-concert-vinyl\n<\/div><\/figure>\n\n\n\n

The concert was organized by 17-year-old Vera Brandes<\/a>, then Germany’s youngest concert promoter.[9]<\/a><\/sup> At Jarrett’s request, Brandes had selected a B\u00f6sendorfer 290 Imperial<\/a> concert grand piano for the performance. However, there was some confusion by the opera house staff and instead they found another B\u00f6sendorfer piano backstage \u2013 a much smaller baby grand \u2013 and, assuming it was the one requested, placed it on the stage. Unfortunately, the error was discovered too late for the correct B\u00f6sendorfer to be delivered to the venue in time for the evening’s concert. <\/p>\n\n\n\n\n\n\n\n

The piano they had was intended for rehearsals only and was in poor condition and required several hours of tuning<\/a> and adjustment to make it playable.[10]<\/a><\/sup> The instrument was tinny and thin in the upper registers and weak in the bass register, and the pedals did not work properly. Consequently, Jarrett often used ostinatos<\/a> and rolling left-hand rhythmic figures during his K\u00f6ln performance to give the effect of stronger bass notes, and concentrated his playing in the middle portion of the keyboard. ECM Records producer Manfred Eicher<\/a> later said: “Probably [Jarrett] played it the way he did because it was not a good piano. Because he could not fall in love with the sound of it, he found another way to get the most out of it.”[11]<\/a><\/sup> <\/p>\n\n\n\n

Unfortunately, the error was discovered too late for the correct B\u00f6sendorfer to be delivered to the venue in time for the evening’s concert. The piano they had was intended for rehearsals only and was in poor condition and required several hours of tuning<\/a> and adjustment to make it playable.[10]<\/a><\/sup> The instrument was tinny and thin in the upper registers and weak in the bass register, and the pedals did not work properly. Consequently, Jarrett often used ostinatos<\/a> and rolling left-hand rhythmic figures during his K\u00f6ln performance to give the effect of stronger bass notes, and concentrated his playing in the middle portion of the keyboard. ECM Records producer Manfred Eicher<\/a> later said: “Probably [Jarrett] played it the way he did because it was not a good piano. Because he could not fall in love with the sound of it, he found another way to get the most out of it.”[11]<\/a><\/sup> <\/p>\n\n\n\n

Jarrett arrived at the opera house late in the afternoon and tired after an exhausting long drive from Z\u00fcrich<\/a>,\n Switzerland, where he had performed a few days earlier. He had not \nslept well in several nights and was in pain from back problems and had \nto wear a brace. After trying out the substandard piano and learning a \nreplacement instrument was not available, Jarrett nearly refused to play\n and Brandes had to convince him to perform as the concert was scheduled\n to begin in just a few hours.[8]<\/a><\/sup>\n Brandes had booked a table, at a local Italian restaurant, for Jarrett \nto have dinner, but a mix-up by the waiting staff caused a delay in the \nmeal being served and he was able to eat only a few mouthfuls before \nhaving to leave for the concert.[12]<\/a><\/sup> \n<\/p>\n\n\n\n

The concert took place at the unusually late hour of 23:30, following an earlier opera performance. This late-night time slot was the only one the administration would make available to Brandes for a jazz concert \u2013 the first ever at the K\u00f6ln Opera House. The show was completely sold out and the venue was filled to capacity with over 1,400 people at a ticket price of 4 DM<\/a> ($1.72). Despite the obstacles, Jarrett’s performance was enthusiastically received by the audience and the subsequent recording was acclaimed by critics. It remains his most popular recording and continues to sell well, decades after its initial release. <\/p>\n\n\n\n

\"Keith<\/figure>\n\n\n\n

The performance was recorded by ECM Records engineer Martin Wieland<\/em>, using a pair of Neumann<\/a> U 67 vacuum-tube powered condenser microphones and a Telefunken<\/a>\n M-5 portable tape machine. The recording is in three parts: lasting \nabout 26 minutes, 34 minutes and 7 minutes respectively. As it was \noriginally programmed for vinyl LP<\/a>,\n the second part was split into sections labelled “IIa” and “IIb”. The \nthird part, labelled “IIc”, was actually the final piece, a separate \nencore.\n<\/p>\n\n\n\n

A notable aspect of the concert was Jarrett’s ability to produce very extensive improvised material over a vamp<\/a>\n of one or two chords for prolonged periods of time. For instance, in \nPart I, he spends almost 12 minutes vamping over the chords Am7 (A minor\n 7) to G major, sometimes in a slow, rubato<\/a> feel, and other times in a bluesy, gospel rock<\/a>\n feel. For about the last 6 minutes of Part I, he vamps over an A major \ntheme. Roughly the first 8 minutes of Part II A is a vamp over a D major\n groove with a repeated bass vamp in the left hand, and in Part IIb, \nJarrett improvises over an F# minor vamp for about the first 6 minutes<\/p>\n","protected":false},"excerpt":{"rendered":"

The concert was organized by 17-year-old Vera Brandes, then Germany’s youngest concert promoter.[9] At Jarrett’s request, Brandes had selected a B\u00f6sendorfer 290 Imperial concert grand piano for the performance. However, there was some confusion by the opera house staff and instead they found another B\u00f6sendorfer piano backstage \u2013 a much smaller baby grand \u2013 and, […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[84],"tags":[482,483,485,484],"acf":[],"_links":{"self":[{"href":"https:\/\/hesmid.nl\/test\/wp-json\/wp\/v2\/posts\/11293"}],"collection":[{"href":"https:\/\/hesmid.nl\/test\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hesmid.nl\/test\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hesmid.nl\/test\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/hesmid.nl\/test\/wp-json\/wp\/v2\/comments?post=11293"}],"version-history":[{"count":1,"href":"https:\/\/hesmid.nl\/test\/wp-json\/wp\/v2\/posts\/11293\/revisions"}],"predecessor-version":[{"id":11294,"href":"https:\/\/hesmid.nl\/test\/wp-json\/wp\/v2\/posts\/11293\/revisions\/11294"}],"wp:attachment":[{"href":"https:\/\/hesmid.nl\/test\/wp-json\/wp\/v2\/media?parent=11293"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hesmid.nl\/test\/wp-json\/wp\/v2\/categories?post=11293"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hesmid.nl\/test\/wp-json\/wp\/v2\/tags?post=11293"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}