![]() Then, after a long silence, Manfred came to me and said, ‘If you don’t get a new piano, Keith can’t play.'” They circled the instrument several times and then tried a few keys. “Keith played a few notes,” recalled Brandes. When they reached the concert hall late in the afternoon, it was immediately clear to Jarrett that the piano on the stage was not the piano he had expected. ![]() Jarrett could expect an audience of 1,432 jazz aficionados in the audience. When she arrived at their hotel she was excited to tell Jarrett and Eicher that the concert was completely sold out. At 17, she was the youngest concert producer in Europe, and the concert at the Opera House was by far her most ambitious and potentially successful effort to date. In fact, it almost didn’t go at all.įor Vera Brandes, January 24 was the happiest day of her life. ![]() If all went well, in a few hours Jarrett would stride on to the stage of one of the most important musical venues in Europe and begin to play. The concert was planned for 11:00 pm, the only time Brendes could arrange for the hall, so Jarrett’s plan was to examine the piano and the hall, then return to his hotel, take a nap and then have dinner before the concert. Jarrett wanted to visit the Opera House before the concert to look at the piano. Having driven all that day from Switzerland in a small Renault 4, and Jarrett and Eicher were exhausted. However, when Brandes called and told them that she could schedule a concert in the Cologne Opera house, Jarrett agreed to come. Since Jarrett had played the night before in Lausanne, Switzerland, January 24th was supposed to be a day of rest. They were attempts at very long stretches (up to an hour at a time) of total improvisation, the creation from scratch of everything: rhythms, themes, structures, harmonic sequences and textures.”įully aware of how demanding that playing such improvised concerts could be, Jarrett had insisted that they schedule a concert every other day. “They were not renditions of composed music committed to memory, nor were they a series of variations on composed themes. “These solo concerts were major events in terms of twentieth-century music…they are without precedent, not only in jazz history, but also in the entire history of the piano,” wrote biographer Ian Carr in Keith Jarrett: The Man and His Music. C and was scheduled to end on Apin Waterville, Maine. Jarrett, the American jazz musician, and his manager and producer, Manfred Eicher, were in middle of a tour of 24 solo concerts – 11 in Europe – which had begun on Octoin Washington, D. Brandes was the 17-year-old producer of the concert that Jarrett was to play that night at the Cologne Opera House. On the afternoon of January 24, 1975, Keith Jarrett and Manfred Eicher were sitting in the lobby of a hotel in Cologne, Germany, waiting for Vera Brandes to arrive. This is not the calculus for a successful concert.”
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