Martin Wieland, a mobile recording technician from Bauer Studios, had already positioned two Neumann U 67 vacuum-tube condenser mikes above the piano by the time Jarrett arrived at the Cologne Opera House and was informed of the circumstances under which he was expected to perform. It’s understandable that any musician might have reservations about performing in public under such inauspicious circumstances for a musical savant like Jarrett, whose perfectionist bent was well-known, to call the whole thing off would have seemed the only course of action available. The show he put on is widely regarded as one of the finest solo piano performances of all time. And Jarrett had been battling severe back pain and sleep deprivation for days leading up to the concert. Dinner was served late, too late for a full meal before showtime. The performer, Keith Jarrett, had spent five hours riding in a small, rickety French economy car from his previous concert in Switzerland.

Technicians slaved for hours tuning the instrument to get it into a playable condition the sustain pedals were beyond repair and thus would be useless. Instead of the Bösendorfer 290 Imperial concert grand piano ordered by the show’s promoters, a mix-up led to the concert hall’s poorly maintained baby grand being brought out on the stage.

It was very late on a cold, rainy January night in 1975 when The Köln Concert was recorded. Note: for the full suite of measurements from the SoundStage! Audio-Electronics Lab, click this link. 2018-2019 EISA Awards Video Introduction.

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