中文名称：The Koln Concert
资源类型：APE
版本：[Live]
发行时间：1975年1月24日
专辑歌手：Keith Jarrett
地区：美国
简介：
专辑名称：The Koln Concert
作 曲 家：Keith Jarrett
演 奏 家：Keith Jarrett
发行公司：ECM Records
原版日期：01/24/1975
再版日期：11/16/2000
音乐流派：Jazz/Modern Post-bebop
采 样 率：549 kbps
专辑介绍：
Amazon.com essential recording
Keith Jarrett在1975年的科隆演奏会（The Koln Concert）是爵士音乐史上的一个奇迹，是即兴作曲/钢琴独奏的永恒经典，几乎达到了一个不可企及的高度。
科隆演奏会时的Keith Jarrett正处于一个钢琴家的巅峰时期，而这场演奏会背后的故事也颇耐人寻味：由于不得不使用一架音色不够完美的钢琴——偏弱的较高、低声部，让Keith选择集中于弹奏钢琴的中部，结果创作出有别于Keith以往所有作品的全然不同的音乐语言。
这里你将听到的每一个音符、每段旋律、篇章都是来自钢琴家自发性的即席创作——持续翻滚的节奏通过Keith强有力的左手产生出巨大的催眠力量，将你卷入他的思维、灵魂，经历一片超越语言的诗意与意境；源源不断的灵感滑过Keith的十指，他不时的浅吟低唱仿佛自己都惊异于自己创造出的音乐——或许这音乐是来自正围绕着他的缪斯的启示，或许此时缪斯正附身于他，人们说这是一场‘通灵’的音乐会并不为过。
也如一些人指出的，其中第三首（Part IIB）是全场的高潮所在——它从Keith赤裸的心灵流淌出并直接进入你的灵魂、撼动它；而接近演奏会尾声时，Keith选择用一小段甜美的钢琴小品（Part IIC）将你的灵魂轻轻的放回原处。
最后要说明的是，这场演奏会仍然是具有争议的：由于它广泛的接受度/流行度使其艺术价值受到一些质疑（这种观点本身是荒谬的）；另外这张专辑的直接后果之一——引发了包括George Winston在内无数New Age音乐家简单化、表面化的模仿，作为这种潮流的‘始作俑者’它受到了不公正的指责，甚至Keith Jarrett本人都它的态度都是复杂的。
如果你还没有听过这场演奏会，那你将是非常幸运的——当最初发现它的美时，这种心情是难以言喻的。
专辑曲目：
1 Part I (26:01)
2 Part II A (14:54)
3 Part II B (18:14)
4 Part II C (6:56)
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演奏家介绍：
One of the most significant pianists to emerge since the 1960s, Keith Jarrett's career has gone through several phases. He gained international fame for his solo concerts, which found him spontaneously improvising all of the music without any prior planning; but he has also led a couple of dynamic quartets/quintets, performed classical music, and later played explorative versions of standards with his longtime trio. Although his tendency to "sing along" with his piano now and then is distracting, Jarrett continued to grow as a powerful improviser after decades of important accomplishments.
Keith Jarrett started on the piano when he was three, and by the time he was seven he had already played a recital. A child prodigy, Jarrett was a professional while still in grade school. In 1962, he studied at Berklee, and then started working in the Boston area with his trio. He moved to New York in 1965, and spent four months with Art Blakey's Jazz Messengers. As a member of the very popular Charles Lloyd Quartet (1966-1969), Jarrett traveled the world and became well-known; he also began doubling occasionally on soprano (which he would utilize through the 1970s). During 1969-1971, he was with Miles Davis' fusion group, playing organ and electric keyboards; Chick Corea was also in the band for the first year. Jarrett can be heard "battling" Corea throughout Davis' Live at the Fillmore, but is in more creative form on Live/Evil.
Upon leaving Miles Davis, Keith Jarrett permanently swore off electric keyboards. He had cut sessions as a leader for Vortex (1967-1969) and Atlantic (1971), but starting in November 1971, he recorded extensively for ECM (in addition to some sessions in the 1970s for ABC/Impulse), an association that continued into the 2000s. In the 1970s, Jarrett led two groups: an exciting unit with Dewey Redman, Charlie Haden, Paul Motian, and occasional percussionists (often Guilherme Franco); and a European band with Jan Garbarek, Palle Danielsson, and Jon Christensen that recorded the popular "My Song." In addition, starting in 1972, Jarrett began his famous series of improvised concerts which resulted in such popular recordings as Solo Concerts, Köln Concert, and the mammoth Sun Bear Concerts. By the 1980s, Jarrett was performing classical music as much as jazz, but in the 1990s he recorded extensively (including a six-CD live set) with his "standards trio" that includes Gary Peacock and Jack DeJohnette. Although initially influenced by Bill Evans, Keith Jarrett has had an original and influential style of his own since the early '70s, and remains a vital force in jazz. ~ Scott Yanow, All Music Guide
