Can Keith Jarrett Really Play the Blues?

Keith Jarrett can play anything

I have been a serious Keith Jarrett listener since I heard his piano solo on Charles Lloyd’s Forest Flower in 1967. It was one of those, “who the hell?” is that moments.

Jarrett is renowned for his versatility and innovation across different genres. He has made significant contributions to jazz, classical, and improvised music. This diverse range in his playing has influenced many musicians and changed the perception of what can be achieved on the piano.

One of Jarrett's most notable skills is his ability to improvise an entire concert. His improvisational performances, particularly in solo concerts, are legendary. The album "The Köln Concert" (1975) is one of the best-selling solo albums in jazz history and is a testament to his improvisational genius.

It Almost Didn’t Happen

The story behind Keith Jarrett's near-cancellation of the Köln Concert, one of the most celebrated solo jazz piano recordings in history, involves a series of mishaps and challenges that culminated in a remarkable performance against ALL odds. The concert took place on January 24, 1975, at the Opera House in Cologne (Köln), Germany. On the day of the concert, several things went awry:

The Wrong Piano. The concert's organizer, a young German teenager named Vera Brandes, had arranged for a Bösendorfer grand piano for the concert. However, due to a misunderstanding or logistical error, the Bösendorfer 290 Imperial that Jarrett had requested was not available. Instead, a smaller, practice-quality Bösendorfer grand piano, which was in poor condition and not suitable for a concert of this magnitude, was placed on the stage. The piano had sticky keys, dead notes, and a lackluster tone in the upper registers, while the lower register lacked depth and volume.

Physical Exhaustion. Keith Jarrett was physically exhausted. He had driven from Zurich to Cologne without proper rest, was suffering from severe back pain, and was wearing a brace. Additionally, he had not slept well the night before the concert, further compounding his fatigue.

Late Hours and Technical Challenges. The concert was scheduled to begin late at night, around 11:30 PM, which was not ideal for Jarrett. Upon discovering the state of the piano, Jarrett and Brandes tried to find a replacement, but it was too late to arrange for another piano. The venue's acoustics also posed a challenge, and the piano's condition meant that Jarrett would have to adjust his playing style to make the most of the instrument's limitations.

After the soundcheck, waiting in a car for his driver to take him back to the hotel, he decided to cancel the concert. Despite these adversities, Vera Brandes, who was reportedly eighteen years old at the time, managed to convince Jarrett to proceed with the concert. He agreed to play, taking the stage late in the evening.

What followed was an improvised performance that transcended the limitations of the instrument and the circumstances. Jarrett's performance was inspired, drawing from classical, jazz, blues, and gospel influences. The concert was recorded by ECM Records, and the resulting album, "The Köln Concert," was released later that year. It went on to become the best-selling solo album in jazz history and the best-selling piano album with millions of copies sold worldwide.

The Köln Concert is a testament to Keith Jarrett's extraordinary talent and creativity, as well as his ability to turn a potentially disastrous situation into a triumph of musical expression. The adversity and challenges he faced that night contributed to the depth and emotion of the performance, making the Köln Concert a landmark recording in the history of jazz.

Jarrett's music often integrates elements of jazz, folk music, classical music, and gospel, demonstrating a unique ability to blend various musical traditions in a cohesive and innovative way.

Not surprisingly, his performances are noted for their emotional depth and expressiveness. Jarrett's ability to convey a wide range of emotions through his music has endeared him to audiences worldwide. And yes, he can play the blues. See below.

Hearing Keith Jarrett Live

I heard Keith with Charles Lloyd a number of times. And then, with Miles Davis, the first time, on June 18, 1970. That night is a very strong memory. I had seen Miles at the Fillmore East a few months before that, on Wayne Shorter’s last gig with the band, which also included Chick Corea, Dave Holland and Jack DeJohnette. That was a particularly exciting time in Jazz, with the release of In A Silent Way and Bitches Brew. Miles and company were giving birth to jazz fusion and soon, in addition to Miles, there was Weather Report, the Headhunters, Return to Forever and the Mahavishnu Orchestra.

Miles was scheduled to play on a double bill with Laura Nyro at the Fillmore East. We didn’t know what to expect. I went to the Thursday night show, late released as Miles at Fillmore, which contained all four nights. When the curtain went up, the stage was empty, but I noticed there was an electric piano on one side of the stage, and a Farfisa electic organ on the other. All of sudden, Chick came out and sat down at the Fender Rhodes, and Keith appeared, and went to the organ. And then Jack DeJohnette sat down at the drums. Keith and Jack, who had been playing with Charles Lloyd for several years, left the tenor man’s group and joined Miles.

That music blew my mind. I left at intermission, and sadly didn’t stay for Laura Nyro. I couldn’t. What Miles played, in my mind, just couldn’t be topped.

Listen to Miles at Fillmore, Thursday night.

About six weeks later, I caught the same band up in Cambridge, MA, at Harvard Stadium, on a double bill with the rock band Mountain. Also great and what a contrast between the two groups.

And then, the following March, they played at the Cafe Au Go Go in New York. Richard Pryor opened for Miles. Gary Bartz had replaced Steve Grossman on saxophone, and electric bassist Michael Henderson replaced Dave Holland. Although Keith claims he never liked electric instruments, I was intrigued by what he played. Sadly, they never recorded that group in the studio, but there are a number of live recordings going around. The following year, they played a European tour, with Ndugu on drums, and Don Alias and Mtume on percussion.

On a day off from a concert with Miles in Oslo, he recorded Facing You, his first solo piano recording featuring all original compositions.

Not long after that, Jarrett left Miles and formed his American Quartet, with Dewey Redman, Charlie Haden and Paul Motian. I heard them live at Slug’s, the infamous East Village jazz club and the music was nothing like what he had been playing with Miles.

Here’s a video featuring Keith Jarrett’s American Quartet, which opens with his acceptance speech from his NEA Jazz Masters Award Ceremony.

Thankfully, RAI, Italian television, documented Keith Jarrett playing with Miles. Here’s a compilation of Keith’s playing with Miles at a concert in Italy.

And here’s some solo piano blues from the keyboard legend, the unreleased Paris Blues recorded at the Salle Pleyel in October of 1992

Keith Jarrett suffered two strokes in 2018 that have significantly impacted his ability to perform. These health issues have left him partially paralyzed and unable to play with his left hand. As a result, Jarrett has been unable to perform since the strokes and has expressed doubts about his ability to ever play in concerts again.

Rick Beatto, who has a popular YouTube music channel, interviewed Keith Jarrett last year, and they discussed his current health status: