You have made some very nice choices here. I however, believe that if you really want to explore Keith’s work with Miles you definitely have to listen to The Cellar Door Sessions. For someone who really said he hated playing Fender Rhodes he sure takes the instrument to some very interesting places and yet capitalizes on that very funky kind of funky vibe that he created that he got from John Coates Jr.. although it’s a little long of a story I will make it short.. I was hanging with Miles one afternoon at the Essex house in 1989 I believe May.. I had just spent the weekend at home and decided to put on Bitches Brew.. I felt very comfortable in our relationship at that point, and I sometimes asked more probing questions.. I said “ I said.. you were so cutting edge with your use of the Fender Rhodes and you had the best guys playing it like Chcik,Zawinul,Herbie.. come on man who is your favorite guy on electric piano.. he immediately said “Keith Jarrett” .. I said “What?? Keith always said he hated playing that.. and Miles said to me ..” Jason ..Keith is one funky muthaf..ker…… . in 2005 you could definitely hear what he was talking about from his performances on The Cellar Door Sessions..when I heard about Keith having a stroke I decided to get in touch with him and write him a little letter and told him that story about Miles to maybe cheer him up.. and he got back to me and was really amused and appreciated the story… sorry for this being a little long..
Excellent overview Ted as always. Do you know about the new film KOLN 75 about the circumstances concerning the Köln Concert itself, how everything nearly went totally wrong and the fact that it was put on by a teenage Vera Brandes, who later became one of the greatest music producers in Germany and after went into deep research on music and healing? She is truly an "honest broker" herself, and is touring Germany with the film about her youth... an unusual turn of events.
Oh my...I was just listening to The Koln Concert last night! I didn't know it was Keith's birthday. I only got to see him play live once about 25 years ago (with his great trio w/Jack & Gary). Thank you for this excellent article!
I also came to Keith through the Koln concerts, and listened to this album hundreds of times when it arrived. It, like what would come next, became important to my listening and, sometimes, even mental well being. When I started to do some international travel (surf trips primarily) Keith was ALWAYS with me, ending my day with some wonderful music. I was lucky enough to see him perform solo twice, and then again with the Belonging group, all etched in my listening memory.
Then, as now, listening to Keith is like spending time with an old friend, while he opens up new emotional territory for me depending on my mood. The music can be fun and challenging but also deeply meditative and even angry at times. He's essential listening and the incredible output he's given us a great gift that we all should recognize. There still is no one like Keith. Now I'm going to go listen to My Foolish Heart.....
Having listened to the Köln Concert since the 70s I discovered the story of the piano he played in the concert earlier this year (two days after encountering a similar dilemma, in a local and domestic setting, nonetheless a body blow to what you thought you were there to do). Not surprising he would possibly not wish to revisit the concert. Ironic it became the biggest selling solo jazz piano album.
Thanks for the reminder about this album which I remember from all those years ago even though Genesis was a better example of what I liked then. That was about 10 years into my conversion from a classical music snob (French horn player for many years) to a huge fan of "underground" radio - triggered by hearing The Doors "Light My Fire" in 1967.
My sister, who remains a classical snob, maintains that I only like things due to "brain damage" from weed. Maybe she's right. Probably not.
I've been sober for almost 40 years and still like many things from that era (and many new things too).
For example, I'm currently geeking out on Annie Clark having seen St. Vincent in Austin just last month.
For most of my life, for whatever reason, if music is called "jazz" I probably won't care for it much. Except... when I do. [I have the same issue with "Indian" food.]
For instance, I liked a whole lot of what was played by the jazz loving lead character on the Bosch series but was overwhelmed trying to get into what was played. I have no idea whether you would consider the choices there good or not! Maybe you could visit that.
Anyway... you and Rick Beato continue to pry open the door to my appreciation. The Köln Concert is an important gateway drug for me.
Anybody interested in Jarret needs to know his teacher JOHN COATES, who taught him how to play JAZZ. At that time Jarett only played classical. Jarret even played drums for Coates while in in high school.
Regardless of Jarretts genius it is telling of his character that he NEVER talked about Coates in interviews, used his fame to promote Coates or helped him EVEN after he had a mental breakdown TWICE! and finally commited.
Coates also also wrote choral arrangements for Gospel Hymns, his arrangement of Amazing Grace is still selling. (did you wonder where all THOSE riffs in Jarrets playing came from)
How Jarret responded to questions about his debt to his teacher, Jarret replied that HE influenced Coates as much as John influenced him... A high school kid who couldnt play jazz influenced John Coates? I was one of the only musicians in contact with John at the end, a great man RIP
Luckliy we have recordings check out- John Coates "The Omnisound Years" -
and tell me he didnt havbe a MAJOR influence on Mr Jarrett.
Reading this piece tonight, I was reminded of just how good a jazz writer you are. You made me want to reach into my Jarrett library and play some things I haven't heard for a while. Don't sleep on the mid-career piece you're contemplating. One last thing: with the benefit of 40 years or so, what do you now think of the Sun Bear Concerts?
Beautiful one, Ted G. Really took me back to my own perch in the same terrain and let me take my time (your time, gifted) long enough to get my (re)fill. So good...
Great selection, a few really news to probably most people. "Explorations" (the single CBS release) has some magical original compositions, to, with the strings! Underrated. Also, recently hearing Evgeny Kissin play some Shostacivich, particularly the b-minor Sonata, I am reminded of how Jarrett was likely very much influenced by him, very early on I'd say .... S's 24 Preludes & Fuges as well indicative (which Jarrett recorded, of course). The thematic thrust and development are so reminiscent of what Keith would evoke in his solo concerts, to my ears.
You have made some very nice choices here. I however, believe that if you really want to explore Keith’s work with Miles you definitely have to listen to The Cellar Door Sessions. For someone who really said he hated playing Fender Rhodes he sure takes the instrument to some very interesting places and yet capitalizes on that very funky kind of funky vibe that he created that he got from John Coates Jr.. although it’s a little long of a story I will make it short.. I was hanging with Miles one afternoon at the Essex house in 1989 I believe May.. I had just spent the weekend at home and decided to put on Bitches Brew.. I felt very comfortable in our relationship at that point, and I sometimes asked more probing questions.. I said “ I said.. you were so cutting edge with your use of the Fender Rhodes and you had the best guys playing it like Chcik,Zawinul,Herbie.. come on man who is your favorite guy on electric piano.. he immediately said “Keith Jarrett” .. I said “What?? Keith always said he hated playing that.. and Miles said to me ..” Jason ..Keith is one funky muthaf..ker…… . in 2005 you could definitely hear what he was talking about from his performances on The Cellar Door Sessions..when I heard about Keith having a stroke I decided to get in touch with him and write him a little letter and told him that story about Miles to maybe cheer him up.. and he got back to me and was really amused and appreciated the story… sorry for this being a little long..
That a nice report on jazz history. Thanks!
Excellent overview Ted as always. Do you know about the new film KOLN 75 about the circumstances concerning the Köln Concert itself, how everything nearly went totally wrong and the fact that it was put on by a teenage Vera Brandes, who later became one of the greatest music producers in Germany and after went into deep research on music and healing? She is truly an "honest broker" herself, and is touring Germany with the film about her youth... an unusual turn of events.
Listen to Rick Beato's interview. Required.
Love this! I also have to put in a word for anything off the Gary Burton/Keith Jarrett album: https://www.youtube.com/watch?v=rMvO9f20wFg
Oh my...I was just listening to The Koln Concert last night! I didn't know it was Keith's birthday. I only got to see him play live once about 25 years ago (with his great trio w/Jack & Gary). Thank you for this excellent article!
I also came to Keith through the Koln concerts, and listened to this album hundreds of times when it arrived. It, like what would come next, became important to my listening and, sometimes, even mental well being. When I started to do some international travel (surf trips primarily) Keith was ALWAYS with me, ending my day with some wonderful music. I was lucky enough to see him perform solo twice, and then again with the Belonging group, all etched in my listening memory.
Then, as now, listening to Keith is like spending time with an old friend, while he opens up new emotional territory for me depending on my mood. The music can be fun and challenging but also deeply meditative and even angry at times. He's essential listening and the incredible output he's given us a great gift that we all should recognize. There still is no one like Keith. Now I'm going to go listen to My Foolish Heart.....
https://www.theguardian.com/music/2025/feb/10/koln-concert-keith-jarrett-jazz-masterpiece-piano
Having listened to the Köln Concert since the 70s I discovered the story of the piano he played in the concert earlier this year (two days after encountering a similar dilemma, in a local and domestic setting, nonetheless a body blow to what you thought you were there to do). Not surprising he would possibly not wish to revisit the concert. Ironic it became the biggest selling solo jazz piano album.
Kohn concert, side three over and over and over. Play it at my funeral.
Thanks for the reminder about this album which I remember from all those years ago even though Genesis was a better example of what I liked then. That was about 10 years into my conversion from a classical music snob (French horn player for many years) to a huge fan of "underground" radio - triggered by hearing The Doors "Light My Fire" in 1967.
My sister, who remains a classical snob, maintains that I only like things due to "brain damage" from weed. Maybe she's right. Probably not.
I've been sober for almost 40 years and still like many things from that era (and many new things too).
For example, I'm currently geeking out on Annie Clark having seen St. Vincent in Austin just last month.
For most of my life, for whatever reason, if music is called "jazz" I probably won't care for it much. Except... when I do. [I have the same issue with "Indian" food.]
For instance, I liked a whole lot of what was played by the jazz loving lead character on the Bosch series but was overwhelmed trying to get into what was played. I have no idea whether you would consider the choices there good or not! Maybe you could visit that.
Anyway... you and Rick Beato continue to pry open the door to my appreciation. The Köln Concert is an important gateway drug for me.
Apropos of the Bosch series, I found this playlist on Soundcloud:
(1) I don't know if it's accurate
(2) I don't know if it's "good"
https://soundcloud.com/spin-bluemarble/sets/bosch-the-un-official-harry-2
How could you not include the track "Forest Flower"?
"Sorcery" is among my favorites.
Anybody interested in Jarret needs to know his teacher JOHN COATES, who taught him how to play JAZZ. At that time Jarett only played classical. Jarret even played drums for Coates while in in high school.
Regardless of Jarretts genius it is telling of his character that he NEVER talked about Coates in interviews, used his fame to promote Coates or helped him EVEN after he had a mental breakdown TWICE! and finally commited.
Coates also also wrote choral arrangements for Gospel Hymns, his arrangement of Amazing Grace is still selling. (did you wonder where all THOSE riffs in Jarrets playing came from)
How Jarret responded to questions about his debt to his teacher, Jarret replied that HE influenced Coates as much as John influenced him... A high school kid who couldnt play jazz influenced John Coates? I was one of the only musicians in contact with John at the end, a great man RIP
Luckliy we have recordings check out- John Coates "The Omnisound Years" -
and tell me he didnt havbe a MAJOR influence on Mr Jarrett.
Reading this piece tonight, I was reminded of just how good a jazz writer you are. You made me want to reach into my Jarrett library and play some things I haven't heard for a while. Don't sleep on the mid-career piece you're contemplating. One last thing: with the benefit of 40 years or so, what do you now think of the Sun Bear Concerts?
I remember listening to Arbour Zena (at least Side 1) over and over again. A great trio with Haden and Garbarek.
I was also captured by Keith Jarrett in 1975. I remain in his custody.
Beautiful one, Ted G. Really took me back to my own perch in the same terrain and let me take my time (your time, gifted) long enough to get my (re)fill. So good...
Great selection, a few really news to probably most people. "Explorations" (the single CBS release) has some magical original compositions, to, with the strings! Underrated. Also, recently hearing Evgeny Kissin play some Shostacivich, particularly the b-minor Sonata, I am reminded of how Jarrett was likely very much influenced by him, very early on I'd say .... S's 24 Preludes & Fuges as well indicative (which Jarrett recorded, of course). The thematic thrust and development are so reminiscent of what Keith would evoke in his solo concerts, to my ears.