Mr_Iko

Good job, Eze, great review and nice album!

my group (the "We") only performs songs by Jack Johnson: we are his cover band from Modena...

Okay, after these three comments of yours, I give in to force majeure (read as stupidity). I tried. What a shame.

And then what the fuck does "I know many pieces of the concert by heart" mean??? It's divided into four parts... which ones are the pieces? Damn!

The real problem is that when you listen to the Cologne concert, you hear the sound of your heart and forget the music...

Do you see the posts above? ... THIS IS TALKING ABOUT THE KOLN CONCERT! THIS IS TALKING ABOUT JARRETT! DAMN! (copied verbatim from the website keithjarrett.it, the Italian portal of Jarrett, at the url Page not found

With a trill and an octave jump (an octave corresponds to eight notes on the keyboard), Jarrett presents the second moment of the piece, rich in scales that unfold for several minutes. In the third part (the longest), the pianist plays in a very repetitive manner with a continuous change of tempo (6+3/16, 12+2/16, 5/8, 6+2/8, 7/8, 9/8), abandoning the initial key to move to that of LAb, which will be used until the end, where Jarrett delights us with some scales sustained only by a few low notes.
Before the concert begins, Jarrett and the ECM producer Manfred Eicher almost cancel the recording given all the adversities that had occurred, but listen to the tape during a journey and think that despite everything, it is musically coherent material. Eicher and the sound engineer Wieland work three days to slightly improve the quality of the recording.

The Köln Concert enchants and astonishes the listener note after note, scale after scale, pause after pause, moan after moan, reaching its apex with PART IIc, the piece that closes the concert. Although it is saturated with breathtaking syncopations, shifts in time signatures (4/4, 5/4, and 2/4), and virtuosities worthy of the best Jarrett, it engages the listener with a cascade of notes (particularly from measure 39 to measure 47) that quiets down in the final part with some measures played almost in a whisper.

The review up there frustrates me just as much as yours... do you understand why? It seems easy to me... but if you prefer that I insult your intelligence by gifting you with a hypocritical and mean "well done eze, nice review and great album!", here you go: well done eze, nice review and great album! Maybe it's because, as you sarcastically point out, I’m on the brink of thirty that I’ve learned to speak my mind, even at the cost of not being liked. And what I tell you, whether you like it or not (I will sleep just fine tonight) is that YOU DO NOT HAVE THE MEANS TO DESCRIBE AN ALBUM LIKE THIS, OR AT LEAST YOU DON’T SHOW THAT YOU DO IN THIS REVIEW! tHAT Is, MY FRIEND, DO NOT BE IN ANGry WITH ME!

I open Google, type in Jarrett reviews, and find something like this: The album, recorded on January 24, 1975, in the beautiful city of Cologne, Germany, is a "monument" to music, melody, creativity, and art. It is said that, although it's hard to believe while listening to the album, the concert was improvised from the first note to the last. Stated this way, we might think that the result is just a series of overlapping ideas, but from the very first four heartbreaking and touching notes, one can grasp the depth and richness of the work, and the notes that follow flow continuously in an incredibly smooth and fluid manner, making the listening experience easy and never burdensome.

The sound of the piano on this album is idyllic, supported by a reverb that creates a beautiful atmosphere, capable of captivating us, enveloping us, and transporting us "inside." There are also a couple of curiosities about this album. If you listen closely, in the first seconds of the recording, you will clearly hear a whistle originating from the piano bench (did they forget to oil it????). As you continue to listen, you will notice that as the melodic texture thickens, Jarrett, as is his custom, starts to emit guttural sounds and little cries of "musical pleasure" that are evident in all his albums. Going further, you will hear, in a moment of great timbral-harmonic intensity, a citation of the famous theme from "love story." link rotto