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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.


A Kind of Magic   June 22, 2000
 39 out of 40 found this review helpful

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.


My One True Love   April 30, 2004
 20 out of 21 found this review helpful

I have kept from writing about the Koln concert for such a long time, but I feel I must... Now that I read all the reviews.

Keith Jarrett's Koln Concert captures your soul and never lets go. I have went on and listened to all of Jarrett's albums. All the solo performances. All the solo albums. La Scala is perfect. Probably the best solo concert, in terms of musicality, soul and beauty. Paris is an overall genius, lyrical, touching, aching. So are Vienna, Concerts and the clavichord session, Book of Ways, which is a must-have, although it is not for everybody.

Whisper Not CD1 is friendly jazz. CD2 is hardcore jazz. Judge it as you might. The Melody At Night With You is pure Keith Jarrett.

But Koln... It is above all that. While all those other works are standing tall, rising high, crawling, digging deep... They are all grounded somwhere. Classically, jazz-oriented, blues, even pure piano soloing... You can DEFINE them.

The Koln Concert just floats. It belongs nowhere. It is in a world of its own. No one, including Jarrett, has ever, and will ever make another composition like this one. It belongs to no category. It obeys no rules. It does something to you that only Toccata and Fugue in D Minor comes close to doing to you. It does that from the very first note. It lasts long after the CD ends.

People wrote, I have listened to it well over a hundred times. Me too. Well over a thousand. Hundreds of times to Jarrett's other albums, too. Keith Jarrett hates this album because he knows he will never repeat such a divine composition. Notice something interesting - Koln is not played even in Jarrett's style.

Koln was a concert played by a force larger than Jarrett. It was a composition playing itself through Jarrett. A gift from God, whether you believe in God or not. Laugh as you may, this album does something to you no other album does. It grabs your soul and never lets you go. You are a different person once you've heard Koln.

There are very few piano concerts, even by Jarrett himself, which are highly based on the left hand. Most of the piano concerts and scores are relying on the right hand to bring out the melody and elegance. Not here. This concert is ruled by the furious, rythmic and elegant left hand of Jarrett. This is like nothing you've ever heard or will ever hear before.



Easy to hate   January 4, 2005
 18 out of 18 found this review helpful

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.


Koln Concert   January 26, 2002
 15 out of 22 found this review helpful

Keith Jarrett is the most techically brilliant jazz pianist since Bud Powell. He brings his knowledge of the blues, bebop, barouqe, classical,gospel, and everything else to the table when ever he does a solo concert. To hear his true brilliance you need to hear his amazing standard trio stuff("whisper not"/"inside out")with Gary Peacock and Jack DeJohnette, his classical stuff(Shostakovich)his awesome stuff with Miles("Live-Evil")his european quartet("My Song"/"Nude Ants") AND his solo piano albums. If you ask Keith to name in his opinion his best albums he will name 50 before he mentions "Koln." Why? Because a fact that has been proven by some of the reviewers on this site. I'm talking about the reviewers who say "i love to make love to this one," or "me and my boyfriend used to listen to this all night." Those are the ones that don't understand the music, they just like "the pretty notes he plays every once in a while." They don't understand how impossible it is to improvise like Keith,they just like "the melody of part 2:c." I respect that they like listening to it(that is the reason to have music-to LISTEN to it)but these are the ones that George Winston and other "new age noodlers"(as one of the GOOD good reviews said)were meant for. This album is the beast that created such evil musicians of the new age era. Why? Again becuase George Winston realized "if I play pretty melodies like Keith, soccer moms will love me and make me rich!"People have to understand first and foremost Keith Jarrett is a JAZZ musician. He's "paid his dues" with Charles Lloyd, Art Blakey, and of course Miles Davis. Keith brought a Miles stlye lyricism to the piano at a time when it was unheard of for a jazz pianist not to be playing a fender rhodes distorted to 11. Anyways, Koln is an amazing record. "Part 1" is maybe the most brilliant movement on the album. It goes from a quiet, Bill Evans, to a funky Horace Silver to a Dissonant Bartok, to a strange little interlude on the upper register of the piano, to a anthemic climax with a perfect ending. "Part 2 A" lets Keith groove on his gospel and bop lines over a funky beat before immediatley changing into a quiet, beautiful modal piece. "Part 2 B" is the most complex and challenging part of the album, and "Part 2 C" is an encore solo on a piece Keith wrote in the late 60's called "Memories of Tomorrow." All in all-"KOLN" is amazing, but Keith has better solo records, such as "Facing You" and "Solo Concerts-Bremen/Lausanne."