keith jarrett last solo encore transcription

Jarrett arrived at the opera house late in the afternoon and tired after an exhausting long drive from Zürich, Switzerland, where he had performed a few days earlier. Because he could not fall in love with the sound of it, he found another way to get the most out of it.' ECM Records producer Manfred Eicher later said: 'Probably played it the way he did because it was not a good piano. Consequently, Jarrett often used ostinatos and rolling left-hand rhythmic figures during his Köln performance to give the effect of stronger bass notes, and concentrated his playing in the middle portion of the keyboard. The instrument was tinny and thin in the upper registers and weak in the bass register, and the pedals did not work properly. The piano they had was intended for rehearsals only and was in poor condition and required several hours of tuning and adjusting to make it playable. Unfortunately, the error was discovered too late for the correct Bösendorfer to be delivered to the venue in time for the evening's concert. However, there was some confusion by the opera house staff and instead they found another Bösendorfer piano backstage – a much smaller baby grand – and, assuming it was the one requested, placed it on the stage. At Jarrett's request, Brandes had selected a Bösendorfer 290 Imperial concert grand piano for the performance. The concert was organized by 17-year-old Template:Interlanguage link multi, then Germany’s youngest concert promoter.

Keith jarrett last solo encore transcription