If you're sick of "Slade" and Wizzard", give this a go!!, 26 Oct 2007
This is my favourite Christmas CD, it has something for everyone! It's the perfect antidote for the tired old tunes that everyone plays at Christmas (if I hear "I wish it could be Christmas every day" one more time I won't be responsible for my actions), the highlights being "Zat you Santa Claus?" by Louis Armstrong and "Silent Night" by Dinah Washington.
Give it a go and you won't be disappointed, especially at this price!!

A nice Christmas collection, 10 Nov 2004
My wife and I enjoy this collection. There is a little traditional, a little modern, some soulful, some fun. A relaxing mix of music to settle down with.

If you're sick of "Slade" and Wizzard", give this a go!!, 26 Oct 2007
This is my favourite Christmas CD, it has something for everyone! It's the perfect antidote for the tired old tunes that everyone plays at Christmas (if I hear "I wish it could be Christmas every day" one more time I won't be responsible for my actions), the highlights being "Zat you Santa Claus?" by Louis Armstrong and "Silent Night" by Dinah Washington.
Give it a go and you won't be disappointed, especially at this price!!

A nice Christmas collection, 10 Nov 2004
My wife and I enjoy this collection. There is a little traditional, a little modern, some soulful, some fun. A relaxing mix of music to settle down with.

Get this Album, 11 Nov 2008
Must have. It's a great album. Not much else to write that has not been written. Great trio and must have album

songs and praises, 23 Oct 2008
As with the case of fellow veteran and former Stenson collaborator Charles Lloyd, 2008 has seen Bobo Stenson release his finest album in at least a decade. "Cantando" has the purity of sound and consistency of 2000's "Serenity" and the diversity of 2005's "Goodbye" but where the latter's mix of originals, classical pieces, the odd standard and Latin numbers was uneven, here it gels wonderfully. Indeed there are few groups who move at all from the elegant tango of Astor Piazolla's "Chiquilin de Bachin" to the extended improvisation of the 13 minute "Pages" to the restless energy of Ornette Coleman's "A Fixed Goal" to the Alban Berg-composed "Liebesode" and none of whom I can think who do such with such verve and ease.

As before, Stenson's piano playing has a crystalline quality, full and inventive without being showy or fussy. Anders Jormin remains the perfect foil deploying his signature use of bowed bass on a number of tracks. Much has been written of young drummer Jon Falt who has performed live in the Stenson trio for a number of years but makes his recording debut follows in the intimidating lineage of Jon Christenson and Paul Motian. Suffice to say that he more than matches his illustrious predecessors.

Despite the sustained excellence, the highlights are the two versions of "Song of Ruth", by Petr Eben who, until his recent death, was the most prominent contemporary Czech composer if not the leading cultural figure in his country. The interpretations of the track originally scored for organ and soprano are full of yearning and atmosphere and provide a perfect snapshot of the interplay between piano, bass and percussion and the fact that the trio never ceases to sing throughout this wonderful release.

A musical chameleon, pianist Keith Jarrett was at his finest when he recorded these sustained solo improvisations in a German concert hall in 1975, the first lasting 26 minutes, the second 40. Melodies and rhythmic figures arise fluidly from his fingers as he moves from one idea to another, while his strong left hand is often used for repeated motifs that generate a rolling hypnotic power. This couples with strongly consonant harmonies to impart the flavour of gospel music at times, dance music and Debussy at others. Above all, it's Jarrett's ability to knit all of his moods and wanderings into an almost seamless tapestry of warm and tuneful ideas that gives this music its enduring appeal. --Stuart Broomer

If you're sick of "Slade" and Wizzard", give this a go!!, 26 Oct 2007
This is my favourite Christmas CD, it has something for everyone! It's the perfect antidote for the tired old tunes that everyone plays at Christmas (if I hear "I wish it could be Christmas every day" one more time I won't be responsible for my actions), the highlights being "Zat you Santa Claus?" by Louis Armstrong and "Silent Night" by Dinah Washington.
Give it a go and you won't be disappointed, especially at this price!!

A nice Christmas collection, 10 Nov 2004
My wife and I enjoy this collection. There is a little traditional, a little modern, some soulful, some fun. A relaxing mix of music to settle down with.

Get this Album, 11 Nov 2008
Must have. It's a great album. Not much else to write that has not been written. Great trio and must have album

songs and praises, 23 Oct 2008
As with the case of fellow veteran and former Stenson collaborator Charles Lloyd, 2008 has seen Bobo Stenson release his finest album in at least a decade. "Cantando" has the purity of sound and consistency of 2000's "Serenity" and the diversity of 2005's "Goodbye" but where the latter's mix of originals, classical pieces, the odd standard and Latin numbers was uneven, here it gels wonderfully. Indeed there are few groups who move at all from the elegant tango of Astor Piazolla's "Chiquilin de Bachin" to the extended improvisation of the 13 minute "Pages" to the restless energy of Ornette Coleman's "A Fixed Goal" to the Alban Berg-composed "Liebesode" and none of whom I can think who do such with such verve and ease.

As before, Stenson's piano playing has a crystalline quality, full and inventive without being showy or fussy. Anders Jormin remains the perfect foil deploying his signature use of bowed bass on a number of tracks. Much has been written of young drummer Jon Falt who has performed live in the Stenson trio for a number of years but makes his recording debut follows in the intimidating lineage of Jon Christenson and Paul Motian. Suffice to say that he more than matches his illustrious predecessors.

Despite the sustained excellence, the highlights are the two versions of "Song of Ruth", by Petr Eben who, until his recent death, was the most prominent contemporary Czech composer if not the leading cultural figure in his country. The interpretations of the track originally scored for organ and soprano are full of yearning and atmosphere and provide a perfect snapshot of the interplay between piano, bass and percussion and the fact that the trio never ceases to sing throughout this wonderful release.


Piano playing at its best, 22 Oct 2007
I first heard this record at a friends house. I was completely blown away. I went straight to the first record store and bought it. Since then it became my favorite Jazz album of all times, and has put Keith Jarret, in my opinion, on the top of the world's greatest piano players.
I've been a fan ever since and bought every single live album he has released. They are all amazing, but there's no love like the first one.
No record collection will be complete without it.


THIS is real music!, 10 May 2007
One cannot express in words the beauty of this music. It is utterly raw, coming straight from the heart, a work of sheer genius. Whilst many pieces of so-called piano jazz easily lend themselves to the background of an occasion, the Koln Concert demands constant attention; with all of its changes in tempo, key, style and melody, the listener is enticed into the music, eagerly awaiting the next delicate keystrokes. Indeed, rather than being required to glean the often precious-few moments of brilliance from much music, with Keith Jarrett at the piano, the listener finds these instances thrust upon them every few seconds!

If you concentrate on the music for just a minute, you will find melodies which would ordinarily be the core of a piece, but which in this situation are simply played fleetingly, only to be replaced by yet another gorgeous tune.

I highly recommend this music to absolutely anyone; you do not have to be a jazz-lover to appreciate it! Even if you have never listened to this genre before (I am still unsure as to what "this genre" actually is!!), I sincerely appeal to you to give it a go! I promise you won't be disappointed!

If you do decide to purchase this album, and enjoy it anywhere near as much as I have, may I also recommend the Sun Bear Concerts, the Paris Concert, and Live at Carnegie Hall for more of the same! Jarrett has also played in a jazz trio, with Gary Peacock and Jack DeJohnette, and their music is also excellent. Other jazz pianists who I have found to have a similar touch include; Brad Mehldau, Bill Evans and Michael Wollny, although their music tends not to be improvised.

Happy listening!

a work of genius, 26 Feb 2007
Is Jarrett playing the piano or is the piano playing Jarrett or is the music playing both of them? This is beyond improvisation. Jarrett is responding to every note, totally in the moment.

by the way - sorry to be pedantic, but it wasn't in the opening of Carnal Knowledge (released in 1971, 4 years earlier than the concert) but in Nicholas Roeg's Bad Timing starring Teresa Russell and Art Garfunkel. That's the first time I heard the Koln Concerto and I couldn't wait till the end of the film to find out what the music was.

AWESOME, 09 Sep 2006
I am a musician and a teacher in a Special School and I have never been moved so much in the whole of my life as when listening to Part 1 of the Koln concert - it overwhelms me with emotion - wonderful awesome. Oh to the power of music.

Brilliance personified, 07 Sep 2006
This is the Keith Jarrett album that made ECM records, and I believe it is now the best selling solo Piano record ever.

The history behind this famous recording is now legendary. Jarrett hadn't slept for 24 hours prior to the concert. The wrong Piano was brought along for the event and couldn't be changed. Jarrett was kept waiting in an Italian Restaurant prior to the concert and had to bolt his food down to be back the auditorium in time.

The recording very nearly never took place, but in the end Eicher and Jarrett decided to make a documentary recording because they had already paid for the recording facilities.

The music itself is sublime. There are only 4 tracks. Track 1 is 26 mins and a marvel of improvised development. Starting in delicate minor bluesy mode and at 12 mins becoming a thunderous gospel influenced piece. I'm less keen on track 2 and 3 in which Jarrett gets into some of his repetitive grooves. There are still some great moments but as complete pieces they are a little less satisfying. Track 4 is a beautiful tune. Its hard to believe that Jarrett hadn't pre-composed this, but for those who are unaware this album and all of Jarretts solo Piano (non-classical) albums are improvised on the spot.

A bit of trivia part of the opening track was used as soundtrack music in the film "Bad Timing".

"What is this music?" Fundamentally, it's an exploration of what happens when an improvisatory instrumental voice (saxophone) is placed into the world of early vocal music, which has elements of both improvisation and formal structure. In reality, it's an adventure in which the four male voices of the Hilliard Ensemble travel the 14th and 15th-century territory of Morales and Dufay, visit the 12th-century Pérotin and roam even earlier ages of plainchant, accompanied by the always sensitive and tasteful, often astonishing, saxophone improvisations of jazz master Jan Garbarek. Sometimes, these new melodies simply accompany; sometimes they transform the common--a routine minor chord, for instance--into a sublime, indescribable moment. The answer to the above question is easy, but it's different for each listener. --David Vernier

If you're sick of "Slade" and Wizzard", give this a go!!, 26 Oct 2007
This is my favourite Christmas CD, it has something for everyone! It's the perfect antidote for the tired old tunes that everyone plays at Christmas (if I hear "I wish it could be Christmas every day" one more time I won't be responsible for my actions), the highlights being "Zat you Santa Claus?" by Louis Armstrong and "Silent Night" by Dinah Washington.
Give it a go and you won't be disappointed, especially at this price!!

A nice Christmas collection, 10 Nov 2004
My wife and I enjoy this collection. There is a little traditional, a little modern, some soulful, some fun. A relaxing mix of music to settle down with.

Get this Album, 11 Nov 2008
Must have. It's a great album. Not much else to write that has not been written. Great trio and must have album

songs and praises, 23 Oct 2008
As with the case of fellow veteran and former Stenson collaborator Charles Lloyd, 2008 has seen Bobo Stenson release his finest album in at least a decade. "Cantando" has the purity of sound and consistency of 2000's "Serenity" and the diversity of 2005's "Goodbye" but where the latter's mix of originals, classical pieces, the odd standard and Latin numbers was uneven, here it gels wonderfully. Indeed there are few groups who move at all from the elegant tango of Astor Piazolla's "Chiquilin de Bachin" to the extended improvisation of the 13 minute "Pages" to the restless energy of Ornette Coleman's "A Fixed Goal" to the Alban Berg-composed "Liebesode" and none of whom I can think who do such with such verve and ease.

As before, Stenson's piano playing has a crystalline quality, full and inventive without being showy or fussy. Anders Jormin remains the perfect foil deploying his signature use of bowed bass on a number of tracks. Much has been written of young drummer Jon Falt who has performed live in the Stenson trio for a number of years but makes his recording debut follows in the intimidating lineage of Jon Christenson and Paul Motian. Suffice to say that he more than matches his illustrious predecessors.

Despite the sustained excellence, the highlights are the two versions of "Song of Ruth", by Petr Eben who, until his recent death, was the most prominent contemporary Czech composer if not the leading cultural figure in his country. The interpretations of the track originally scored for organ and soprano are full of yearning and atmosphere and provide a perfect snapshot of the interplay between piano, bass and percussion and the fact that the trio never ceases to sing throughout this wonderful release.


Piano playing at its best, 22 Oct 2007
I first heard this record at a friends house. I was completely blown away. I went straight to the first record store and bought it. Since then it became my favorite Jazz album of all times, and has put Keith Jarret, in my opinion, on the top of the world's greatest piano players.
I've been a fan ever since and bought every single live album he has released. They are all amazing, but there's no love like the first one.
No record collection will be complete without it.


THIS is real music!, 10 May 2007
One cannot express in words the beauty of this music. It is utterly raw, coming straight from the heart, a work of sheer genius. Whilst many pieces of so-called piano jazz easily lend themselves to the background of an occasion, the Koln Concert demands constant attention; with all of its changes in tempo, key, style and melody, the listener is enticed into the music, eagerly awaiting the next delicate keystrokes. Indeed, rather than being required to glean the often precious-few moments of brilliance from much music, with Keith Jarrett at the piano, the listener finds these instances thrust upon them every few seconds!

If you concentrate on the music for just a minute, you will find melodies which would ordinarily be the core of a piece, but which in this situation are simply played fleetingly, only to be replaced by yet another gorgeous tune.

I highly recommend this music to absolutely anyone; you do not have to be a jazz-lover to appreciate it! Even if you have never listened to this genre before (I am still unsure as to what "this genre" actually is!!), I sincerely appeal to you to give it a go! I promise you won't be disappointed!

If you do decide to purchase this album, and enjoy it anywhere near as much as I have, may I also recommend the Sun Bear Concerts, the Paris Concert, and Live at Carnegie Hall for more of the same! Jarrett has also played in a jazz trio, with Gary Peacock and Jack DeJohnette, and their music is also excellent. Other jazz pianists who I have found to have a similar touch include; Brad Mehldau, Bill Evans and Michael Wollny, although their music tends not to be improvised.

Happy listening!

a work of genius, 26 Feb 2007
Is Jarrett playing the piano or is the piano playing Jarrett or is the music playing both of them? This is beyond improvisation. Jarrett is responding to every note, totally in the moment.

by the way - sorry to be pedantic, but it wasn't in the opening of Carnal Knowledge (released in 1971, 4 years earlier than the concert) but in Nicholas Roeg's Bad Timing starring Teresa Russell and Art Garfunkel. That's the first time I heard the Koln Concerto and I couldn't wait till the end of the film to find out what the music was.

AWESOME, 09 Sep 2006
I am a musician and a teacher in a Special School and I have never been moved so much in the whole of my life as when listening to Part 1 of the Koln concert - it overwhelms me with emotion - wonderful awesome. Oh to the power of music.

Brilliance personified, 07 Sep 2006
This is the Keith Jarrett album that made ECM records, and I believe it is now the best selling solo Piano record ever.

The history behind this famous recording is now legendary. Jarrett hadn't slept for 24 hours prior to the concert. The wrong Piano was brought along for the event and couldn't be changed. Jarrett was kept waiting in an Italian Restaurant prior to the concert and had to bolt his food down to be back the auditorium in time.

The recording very nearly never took place, but in the end Eicher and Jarrett decided to make a documentary recording because they had already paid for the recording facilities.

The music itself is sublime. There are only 4 tracks. Track 1 is 26 mins and a marvel of improvised development. Starting in delicate minor bluesy mode and at 12 mins becoming a thunderous gospel influenced piece. I'm less keen on track 2 and 3 in which Jarrett gets into some of his repetitive grooves. There are still some great moments but as complete pieces they are a little less satisfying. Track 4 is a beautiful tune. Its hard to believe that Jarrett hadn't pre-composed this, but for those who are unaware this album and all of Jarretts solo Piano (non-classical) albums are improvised on the spot.

A bit of trivia part of the opening track was used as soundtrack music in the film "Bad Timing".



What a waste!, 24 Jun 2008
I can see how sax fans find this album a revelation but it is a stain on the track record of the Hilliard Ensemble. I can see (kinda) what the involved parties tried to do but it still is painful to listing to it and even with a lot of good will this is simply a waste of money and time. To all those admirers of the Hilliard Ensemble: Don't do it to yourself!


nauseating, 22 May 2008
This takes the cherries out of two cakes and leaves the cakes behind. They are glace cherries. Horribly sweet.

The sound of perfection, 04 Mar 2008
There are moments in life when you can become speechless,I have always liked the ethos of the ECM label,and in the the vast majority of albums they release hit such a standard that other labels can only dream of,this is aone such album.
Garbarek and the Hilliards are in a stratosphere of their own,this truly stunning album achieves a benchmark even in ECMs high standard.the music is never short of stunning with Garbarek weaving his magic spell with beautiful,gracefull and moving sounds so much so that the problems of the world seem to disapear.
The Hilliard ensembles vocal ambience was never better,and having seen Garbarek and the Hilliards perform this live in concert,this is no one hit wonder.
This album changed the way that i listen to music,if you get a chance let this into your life,soul and heart and you will feel much better for it.
The music is enchanting,haunting and beautiful,and dates from the 13th14th and 15th century and it is a credit to all performers that it still sounds fresh today,if you like this try Gothic Voices "A Feather on the breath Of God"
Buy this album and be at peace with yourself

Beautiful sounds., 16 Jan 2007
The first track on this CD takes my breath away every time I hear it. It really is stunningly beautiful.

However, if you are like the poor unfortunate "music fan" above who has become such a purist that you fail to just sit back and listen to beautiful sounds and melodies (this being after all what music is in its most basic form) then please don't buy this. No, saxaphone and choral music at first sounds like a disaster...but this WORKS. Yes, as one reviewer has already mentioned, some tracks work better than others, but music is there to be enjoyed, to be played with, to have fun with and enjoyed. I am betting the reviewer above is also one of the select few who cannot abide Classic FM because it has "commercialised THEIR music". Such a shame. Enjoy this music for what it is and if, like our friend "the above reviewer" you do not like the sound of a beautifully played saxaphone, this is fine, just acknowledge that you don't like sax music, rather than slating a talented musician.

To those who still let their ears and their hearts do the listening, rather than some pompous ideas about "knowing about music", listen to this. You'll love it.

It's how music makes you feel that really matters.Officium makes me feel just great!, 11 Oct 2006
While driving over the dreamy mountains of Leek and Buxton, I was fretting over whether or not I would get enough time to finish the job of laying a floor for my present demanding customer.I was taking those hairpins like a madman.I nearly skidded off the road and into a ravine hitting a high grass verge,which fortunatly saved my life.The car stalled,all was quiet except for a stiff breeze blowing through the open window and the radio.At that very moment a tone of emense wonderment and beauty, struck my ear, it was pure with great clarity, even angelic. Jan Garbarek was actually talking to ME,yes! directly communicating to me! Of course I did'nt know him it at the time, but his sax playing touched me so deeply it rested and stilled my racing heart. I was spellbound and was forced to listen to its magic voices right to its regretful conclusion.I sat there and made the time to reflect on what I had just heard,it took me an hour.I sedatly drove on with a smile on my face and a bent bumper,but I did'nt care.The next day I went out and purchased "Officium",(after much searching).Since discovering this masterpiece I have found it to be beneficial, in its calming influence and the best thing of all- IT'S JUST HOW IT MAKES YOU FEEL,GREAT!

The revolution was recorded: in 1969 Bitches Brew sent a shiver through a country already quaking. It was a recording whose very sound, production methods, album-cover art, and two-LP length all signalled that jazz could never be the same. Over three days anger, confusion, and exhilaration had reigned in the studio, and the sonic themes, scraps, grooves, and sheer will and emotion that resulted were percolated and edited into an astonishingly organic work. This Miles Davis wasn't merely presenting a simple hybrid like jazz-rock, but a new way of thinking about improvisation and the studio. And with this two-CD reissue (actually, this set is a reissue of the original set plus one track, perfect for the fan who's not so overwhelmed as to need the four-CD Complete Bitches Brew box), the murk of the original recording is lifted. The instruments newly defined and brightened, the dark energy of the original comes through as if it were all fresh. Joe Zawinul and Bennie Maupin's roles in the mix have been especially clarified. With a bonus track of "Feio"--a Wayne Shorter composition recorded five months later that serves both as a warm-down for Bitches Brew and a promise of Weather Report to come--this is crucial listening. --John F. Szwed

If you're sick of "Slade" and Wizzard", give this a go!!, 26 Oct 2007
This is my favourite Christmas CD, it has something for everyone! It's the perfect antidote for the tired old tunes that everyone plays at Christmas (if I hear "I wish it could be Christmas every day" one more time I won't be responsible for my actions), the highlights being "Zat you Santa Claus?" by Louis Armstrong and "Silent Night" by Dinah Washington.
Give it a go and you won't be disappointed, especially at this price!!

A nice Christmas collection, 10 Nov 2004
My wife and I enjoy this collection. There is a little traditional, a little modern, some soulful, some fun. A relaxing mix of music to settle down with.

Get this Album, 11 Nov 2008
Must have. It's a great album. Not much else to write that has not been written. Great trio and must have album

songs and praises, 23 Oct 2008
As with the case of fellow veteran and former Stenson collaborator Charles Lloyd, 2008 has seen Bobo Stenson release his finest album in at least a decade. "Cantando" has the purity of sound and consistency of 2000's "Serenity" and the diversity of 2005's "Goodbye" but where the latter's mix of originals, classical pieces, the odd standard and Latin numbers was uneven, here it gels wonderfully. Indeed there are few groups who move at all from the elegant tango of Astor Piazolla's "Chiquilin de Bachin" to the extended improvisation of the 13 minute "Pages" to the restless energy of Ornette Coleman's "A Fixed Goal" to the Alban Berg-composed "Liebesode" and none of whom I can think who do such with such verve and ease.

As before, Stenson's piano playing has a crystalline quality, full and inventive without being showy or fussy. Anders Jormin remains the perfect foil deploying his signature use of bowed bass on a number of tracks. Much has been written of young drummer Jon Falt who has performed live in the Stenson trio for a number of years but makes his recording debut follows in the intimidating lineage of Jon Christenson and Paul Motian. Suffice to say that he more than matches his illustrious predecessors.

Despite the sustained excellence, the highlights are the two versions of "Song of Ruth", by Petr Eben who, until his recent death, was the most prominent contemporary Czech composer if not the leading cultural figure in his country. The interpretations of the track originally scored for organ and soprano are full of yearning and atmosphere and provide a perfect snapshot of the interplay between piano, bass and percussion and the fact that the trio never ceases to sing throughout this wonderful release.


Piano playing at its best, 22 Oct 2007
I first heard this record at a friends house. I was completely blown away. I went straight to the first record store and bought it. Since then it became my favorite Jazz album of all times, and has put Keith Jarret, in my opinion, on the top of the world's greatest piano players.
I've been a fan ever since and bought every single live album he has released. They are all amazing, but there's no love like the first one.
No record collection will be complete without it.


THIS is real music!, 10 May 2007
One cannot express in words the beauty of this music. It is utterly raw, coming straight from the heart, a work of sheer genius. Whilst many pieces of so-called piano jazz easily lend themselves to the background of an occasion, the Koln Concert demands constant attention; with all of its changes in tempo, key, style and melody, the listener is enticed into the music, eagerly awaiting the next delicate keystrokes. Indeed, rather than being required to glean the often precious-few moments of brilliance from much music, with Keith Jarrett at the piano, the listener finds these instances thrust upon them every few seconds!

If you concentrate on the music for just a minute, you will find melodies which would ordinarily be the core of a piece, but which in this situation are simply played fleetingly, only to be replaced by yet another gorgeous tune.

I highly recommend this music to absolutely anyone; you do not have to be a jazz-lover to appreciate it! Even if you have never listened to this genre before (I am still unsure as to what "this genre" actually is!!), I sincerely appeal to you to give it a go! I promise you won't be disappointed!

If you do decide to purchase this album, and enjoy it anywhere near as much as I have, may I also recommend the Sun Bear Concerts, the Paris Concert, and Live at Carnegie Hall for more of the same! Jarrett has also played in a jazz trio, with Gary Peacock and Jack DeJohnette, and their music is also excellent. Other jazz pianists who I have found to have a similar touch include; Brad Mehldau, Bill Evans and Michael Wollny, although their music tends not to be improvised.

Happy listening!

a work of genius, 26 Feb 2007
Is Jarrett playing the piano or is the piano playing Jarrett or is the music playing both of them? This is beyond improvisation. Jarrett is responding to every note, totally in the moment.

by the way - sorry to be pedantic, but it wasn't in the opening of Carnal Knowledge (released in 1971, 4 years earlier than the concert) but in Nicholas Roeg's Bad Timing starring Teresa Russell and Art Garfunkel. That's the first time I heard the Koln Concerto and I couldn't wait till the end of the film to find out what the music was.

AWESOME, 09 Sep 2006
I am a musician and a teacher in a Special School and I have never been moved so much in the whole of my life as when listening to Part 1 of the Koln concert - it overwhelms me with emotion - wonderful awesome. Oh to the power of music.

Brilliance personified, 07 Sep 2006
This is the Keith Jarrett album that made ECM records, and I believe it is now the best selling solo Piano record ever.

The history behind this famous recording is now legendary. Jarrett hadn't slept for 24 hours prior to the concert. The wrong Piano was brought along for the event and couldn't be changed. Jarrett was kept waiting in an Italian Restaurant prior to the concert and had to bolt his food down to be back the auditorium in time.

The recording very nearly never took place, but in the end Eicher and Jarrett decided to make a documentary recording because they had already paid for the recording facilities.

The music itself is sublime. There are only 4 tracks. Track 1 is 26 mins and a marvel of improvised development. Starting in delicate minor bluesy mode and at 12 mins becoming a thunderous gospel influenced piece. I'm less keen on track 2 and 3 in which Jarrett gets into some of his repetitive grooves. There are still some great moments but as complete pieces they are a little less satisfying. Track 4 is a beautiful tune. Its hard to believe that Jarrett hadn't pre-composed this, but for those who are unaware this album and all of Jarretts solo Piano (non-classical) albums are improvised on the spot.

A bit of trivia part of the opening track was used as soundtrack music in the film "Bad Timing".



What a waste!, 24 Jun 2008
I can see how sax fans find this album a revelation but it is a stain on the track record of the Hilliard Ensemble. I can see (kinda) what the involved parties tried to do but it still is painful to listing to it and even with a lot of good will this is simply a waste of money and time. To all those admirers of the Hilliard Ensemble: Don't do it to yourself!


nauseating, 22 May 2008
This takes the cherries out of two cakes and leaves the cakes behind. They are glace cherries. Horribly sweet.

The sound of perfection, 04 Mar 2008
There are moments in life when you can become speechless,I have always liked the ethos of the ECM label,and in the the vast majority of albums they release hit such a standard that other labels can only dream of,this is aone such album.
Garbarek and the Hilliards are in a stratosphere of their own,this truly stunning album achieves a benchmark even in ECMs high standard.the music is never short of stunning with Garbarek weaving his magic spell with beautiful,gracefull and moving sounds so much so that the problems of the world seem to disapear.
The Hilliard ensembles vocal ambience was never better,and having seen Garbarek and the Hilliards perform this live in concert,this is no one hit wonder.
This album changed the way that i listen to music,if you get a chance let this into your life,soul and heart and you will feel much better for it.
The music is enchanting,haunting and beautiful,and dates from the 13th14th and 15th century and it is a credit to all performers that it still sounds fresh today,if you like this try Gothic Voices "A Feather on the breath Of God"
Buy this album and be at peace with yourself

Beautiful sounds., 16 Jan 2007
The first track on this CD takes my breath away every time I hear it. It really is stunningly beautiful.

However, if you are like the poor unfortunate "music fan" above who has become such a purist that you fail to just sit back and listen to beautiful sounds and melodies (this being after all what music is in its most basic form) then please don't buy this. No, saxaphone and choral music at first sounds like a disaster...but this WORKS. Yes, as one reviewer has already mentioned, some tracks work better than others, but music is there to be enjoyed, to be played with, to have fun with and enjoyed. I am betting the reviewer above is also one of the select few who cannot abide Classic FM because it has "commercialised THEIR music". Such a shame. Enjoy this music for what it is and if, like our friend "the above reviewer" you do not like the sound of a beautifully played saxaphone, this is fine, just acknowledge that you don't like sax music, rather than slating a talented musician.

To those who still let their ears and their hearts do the listening, rather than some pompous ideas about "knowing about music", listen to this. You'll love it.

It's how music makes you feel that really matters.Officium makes me feel just great!, 11 Oct 2006
While driving over the dreamy mountains of Leek and Buxton, I was fretting over whether or not I would get enough time to finish the job of laying a floor for my present demanding customer.I was taking those hairpins like a madman.I nearly skidded off the road and into a ravine hitting a high grass verge,which fortunatly saved my life.The car stalled,all was quiet except for a stiff breeze blowing through the open window and the radio.At that very moment a tone of emense wonderment and beauty, struck my ear, it was pure with great clarity, even angelic. Jan Garbarek was actually talking to ME,yes! directly communicating to me! Of course I did'nt know him it at the time, but his sax playing touched me so deeply it rested and stilled my racing heart. I was spellbound and was forced to listen to its magic voices right to its regretful conclusion.I sat there and made the time to reflect on what I had just heard,it took me an hour.I sedatly drove on with a smile on my face and a bent bumper,but I did'nt care.The next day I went out and purchased "Officium",(after much searching).Since discovering this masterpiece I have found it to be beneficial, in its calming influence and the best thing of all- IT'S JUST HOW IT MAKES YOU FEEL,GREAT!

This is the question, 24 Sep 2008
The question isn't whether this is a weird branch that Miles Davis wandered off into in the 70's, and do only pseuds like it.

The question is whether this is the best album ever made.

Pharoah's dance knocks most modern orchestral music into a much-needed hole in the ground - its atonal genius - only Stockhausen could even get close to this match of mood and insane key combinations - is unsurpassed.

Bitches brew has a groove so deep that when you really hear it (maybe second listen, maybe third) you almost salute it - its dark, african and american - city and jungle - jesus its superb.

And if you don't like Spanish Key you are very likely dead.

Magisterial Miles, 09 Sep 2008
I'd be some kind of pretentious idiot if I tried to give any kind of in depth review of this album, so I'll keep it short. I have just come back to this particular album after a 23 year absence: it's incredible, quite incredible. The sound quality over my original vinyl copy is breathtaking and within minutes of hearing Pharoah's Dance, I am caught and off and running. Bitches Brew rewards the listener on so many levels;complexity, drive and sublime intelligence.

Columbia/Legacy are to be highly praised with the packaging; the sleeve notes are copious and very detailed

Hey, you know that Desert Island disc thing? Well, it'd be a toss up here between Bitches Brew and Trout Mask Replica.............

Finally, an open question: how come every time I listen to Miles Davis, it makes me want to cook for my friends?

Answers on a postcard to the usual address.............

one of the several excellent miles davis discs., 31 Dec 2007
this is a very good album from miles davis and i think it is one of his best works besides kind of blue even though b^$tches is a bad word, every song on this disc is a masterpiece on this 2 disc set. i'm so sad that he is dead because i would love to see him in concert. anyways, this cd is highy recommended.

Not for the faint-hearted!, 24 Sep 2007
I first heard this album about 5 years ago after hearing of its legendary status from various different sources. It was too much for me to stomach back then having only heard miles' earlier cool jazz and modal jazz albums. But on hearing it again earlier this year I immediately fell in love with it and its now easily among my favourite albums of all time! For jazz purists this is often seen as a real kick in the teeth as it breaks away from all the confines of the stereotypical acoustic jazz band and offers a very different aesthetic to most of Miles' earlier work.

The album is driven by a gritty groove very influenced by rock music at the time. To understand where he was coming from here I would recommend his previous album In A Silent Way and perhaps those leading up to it.

not very good, 17 Sep 2007
This album is very pretentious. I got it as I like birth of the cool and someday my prince will come. They are albums that make you smile as they are beautiful and impressive. However, this is ridiculous. I should have guessed from the photo of miles davis looking like a poser - but I forgive him as he is very talented; this is experimentation, understandable to want to experiment. If like me you like to pick out jazz that is unpretentious and not all smoothy-smoochy, check out django reinhardt djangoloy and louis armstrong hot fives and sevens (and the aforementioned decent miles davis albums). That is real music, and music that is intelligent without falling into the trap of disappearing up your own ass in an introverted neurotic pile of vain nonsense.

Again, I'd like to remind that I like miles davis a lot when he's on form.

This 1963 recording occupies a special place in Mingus's work, his most brilliantly realized extended composition. The six-part suite is a broad canvas for the bassist's tumultuous passions, ranging from islands of serenity for solo guitar and piano to waves of contrapuntal conflict and accelerating rhythms that pull the listener into the musical psychodrama. It seems to mingle and transform both the heights and clichés of jazz orchestration, from Mingus's master, Duke Ellington, to film noir soundtracks. The result is a masterpiece of sounds and textures, from the astonishing vocal effects of the plunger-muted trumpets and trombone (seeming to speak messages just beyond the range of understanding) to the soaring romantic alto of Charlie Mariano. Boiling beneath it all are the teeming, congested rhythms of Mingus and drummer Dannie Richmond and the deep morass of tuba and baritone saxophone. This is one of the greatest works in jazz composition, and it's remarkable that Mingus dredged this much emotional power from a group of just 11 musicians. --Stuart Broomer

If you're sick of "Slade" and Wizzard", give this a go!!, 26 Oct 2007
This is my favourite Christmas CD, it has something for everyone! It's the perfect antidote for the tired old tunes that everyone plays at Christmas (if I hear "I wish it could be Christmas every day" one more time I won't be responsible for my actions), the highlights being "Zat you Santa Claus?" by Louis Armstrong and "Silent Night" by Dinah Washington.
Give it a go and you won't be disappointed, especially at this price!!

A nice Christmas collection, 10 Nov 2004
My wife and I enjoy this collection. There is a little traditional, a little modern, some soulful, some fun. A relaxing mix of music to settle down with.

Get this Album, 11 Nov 2008
Must have. It's a great album. Not much else to write that has not been written. Great trio and must have album

songs and praises, 23 Oct 2008
As with the case of fellow veteran and former Stenson collaborator Charles Lloyd, 2008 has seen Bobo Stenson release his finest album in at least a decade. "Cantando" has the purity of sound and consistency of 2000's "Serenity" and the diversity of 2005's "Goodbye" but where the latter's mix of originals, classical pieces, the odd standard and Latin numbers was uneven, here it gels wonderfully. Indeed there are few groups who move at all from the elegant tango of Astor Piazolla's "Chiquilin de Bachin" to the extended improvisation of the 13 minute "Pages" to the restless energy of Ornette Coleman's "A Fixed Goal" to the Alban Berg-composed "Liebesode" and none of whom I can think who do such with such verve and ease.

As before, Stenson's piano playing has a crystalline quality, full and inventive without being showy or fussy. Anders Jormin remains the perfect foil deploying his signature use of bowed bass on a number of tracks. Much has been written of young drummer Jon Falt who has performed live in the Stenson trio for a number of years but makes his recording debut follows in the intimidating lineage of Jon Christenson and Paul Motian. Suffice to say that he more than matches his illustrious predecessors.

Despite the sustained excellence, the highlights are the two versions of "Song of Ruth", by Petr Eben who, until his recent death, was the most prominent contemporary Czech composer if not the leading cultural figure in his country. The interpretations of the track originally scored for organ and soprano are full of yearning and atmosphere and provide a perfect snapshot of the interplay between piano, bass and percussion and the fact that the trio never ceases to sing throughout this wonderful release.


Piano playing at its best, 22 Oct 2007
I first heard this record at a friends house. I was completely blown away. I went straight to the first record store and bought it. Since then it became my favorite Jazz album of all times, and has put Keith Jarret, in my opinion, on the top of the world's greatest piano players.
I've been a fan ever since and bought every single live album he has released. They are all amazing, but there's no love like the first one.
No record collection will be complete without it.


THIS is real music!, 10 May 2007
One cannot express in words the beauty of this music. It is utterly raw, coming straight from the heart, a work of sheer genius. Whilst many pieces of so-called piano jazz easily lend themselves to the background of an occasion, the Koln Concert demands constant attention; with all of its changes in tempo, key, style and melody, the listener is enticed into the music, eagerly awaiting the next delicate keystrokes. Indeed, rather than being required to glean the often precious-few moments of brilliance from much music, with Keith Jarrett at the piano, the listener finds these instances thrust upon them every few seconds!

If you concentrate on the music for just a minute, you will find melodies which would ordinarily be the core of a piece, but which in this situation are simply played fleetingly, only to be replaced by yet another gorgeous tune.

I highly recommend this music to absolutely anyone; you do not have to be a jazz-lover to appreciate it! Even if you have never listened to this genre before (I am still unsure as to what "this genre" actually is!!), I sincerely appeal to you to give it a go! I promise you won't be disappointed!

If you do decide to purchase this album, and enjoy it anywhere near as much as I have, may I also recommend the Sun Bear Concerts, the Paris Concert, and Live at Carnegie Hall for more of the same! Jarrett has also played in a jazz trio, with Gary Peacock and Jack DeJohnette, and their music is also excellent. Other jazz pianists who I have found to have a similar touch include; Brad Mehldau, Bill Evans and Michael Wollny, although their music tends not to be improvised.

Happy listening!

a work of genius, 26 Feb 2007
Is Jarrett playing the piano or is the piano playing Jarrett or is the music playing both of them? This is beyond improvisation. Jarrett is responding to every note, totally in the moment.

by the way - sorry to be pedantic, but it wasn't in the opening of Carnal Knowledge (released in 1971, 4 years earlier than the concert) but in Nicholas Roeg's Bad Timing starring Teresa Russell and Art Garfunkel. That's the first time I heard the Koln Concerto and I couldn't wait till the end of the film to find out what the music was.

AWESOME, 09 Sep 2006
I am a musician and a teacher in a Special School and I have never been moved so much in the whole of my life as when listening to Part 1 of the Koln concert - it overwhelms me with emotion - wonderful awesome. Oh to the power of music.

Brilliance personified, 07 Sep 2006
This is the Keith Jarrett album that made ECM records, and I believe it is now the best selling solo Piano record ever.

The history behind this famous recording is now legendary. Jarrett hadn't slept for 24 hours prior to the concert. The wrong Piano was brought along for the event and couldn't be changed. Jarrett was kept waiting in an Italian Restaurant prior to the concert and had to bolt his food down to be back the auditorium in time.

The recording very nearly never took place, but in the end Eicher and Jarrett decided to make a documentary recording because they had already paid for the recording facilities.

The music itself is sublime. There are only 4 tracks. Track 1 is 26 mins and a marvel of improvised development. Starting in delicate minor bluesy mode and at 12 mins becoming a thunderous gospel influenced piece. I'm less keen on track 2 and 3 in which Jarrett gets into some of his repetitive grooves. There are still some great moments but as complete pieces they are a little less satisfying. Track 4 is a beautiful tune. Its hard to believe that Jarrett hadn't pre-composed this, but for those who are unaware this album and all of Jarretts solo Piano (non-classical) albums are improvised on the spot.

A bit of trivia part of the opening track was used as soundtrack music in the film "Bad Timing".



What a waste!, 24 Jun 2008
I can see how sax fans find this album a revelation but it is a stain on the track record of the Hilliard Ensemble. I can see (kinda) what the involved parties tried to do but it still is painful to listing to it and even with a lot of good will this is simply a waste of money and time. To all those admirers of the Hilliard Ensemble: Don't do it to yourself!


nauseating, 22 May 2008
This takes the cherries out of two cakes and leaves the cakes behind. They are glace cherries. Horribly sweet.

The sound of perfection, 04 Mar 2008
There are moments in life when you can become speechless,I have always liked the ethos of the ECM label,and in the the vast majority of albums they release hit such a standard that other labels can only dream of,this is aone such album.
Garbarek and the Hilliards are in a stratosphere of their own,this truly stunning album achieves a benchmark even in ECMs high standard.the music is never short of stunning with Garbarek weaving his magic spell with beautiful,gracefull and moving sounds so much so that the problems of the world seem to disapear.
The Hilliard ensembles vocal ambience was never better,and having seen Garbarek and the Hilliards perform this live in concert,this is no one hit wonder.
This album changed the way that i listen to music,if you get a chance let this into your life,soul and heart and you will feel much better for it.
The music is enchanting,haunting and beautiful,and dates from the 13th14th and 15th century and it is a credit to all performers that it still sounds fresh today,if you like this try Gothic Voices "A Feather on the breath Of God"
Buy this album and be at peace with yourself

Beautiful sounds., 16 Jan 2007
The first track on this CD takes my breath away every time I hear it. It really is stunningly beautiful.

However, if you are like the poor unfortunate "music fan" above who has become such a purist that you fail to just sit back and listen to beautiful sounds and melodies (this being after all what music is in its most basic form) then please don't buy this. No, saxaphone and choral music at first sounds like a disaster...but this WORKS. Yes, as one reviewer has already mentioned, some tracks work better than others, but music is there to be enjoyed, to be played with, to have fun with and enjoyed. I am betting the reviewer above is also one of the select few who cannot abide Classic FM because it has "commercialised THEIR music". Such a shame. Enjoy this music for what it is and if, like our friend "the above reviewer" you do not like the sound of a beautifully played saxaphone, this is fine, just acknowledge that you don't like sax music, rather than slating a talented musician.

To those who still let their ears and their hearts do the listening, rather than some pompous ideas about "knowing about music", listen to this. You'll love it.

It's how music makes you feel that really matters.Officium makes me feel just great!, 11 Oct 2006
While driving over the dreamy mountains of Leek and Buxton, I was fretting over whether or not I would get enough time to finish the job of laying a floor for my present demanding customer.I was taking those hairpins like a madman.I nearly skidded off the road and into a ravine hitting a high grass verge,which fortunatly saved my life.The car stalled,all was quiet except for a stiff breeze blowing through the open window and the radio.At that very moment a tone of emense wonderment and beauty, struck my ear, it was pure with great clarity, even angelic. Jan Garbarek was actually talking to ME,yes! directly communicating to me! Of course I did'nt know him it at the time, but his sax playing touched me so deeply it rested and stilled my racing heart. I was spellbound and was forced to listen to its magic voices right to its regretful conclusion.I sat there and made the time to reflect on what I had just heard,it took me an hour.I sedatly drove on with a smile on my face and a bent bumper,but I did'nt care.The next day I went out and purchased "Officium",(after much searching).Since discovering this masterpiece I have found it to be beneficial, in its calming influence and the best thing of all- IT'S JUST HOW IT MAKES YOU FEEL,GREAT!

This is the question, 24 Sep 2008
The question isn't whether this is a weird branch that Miles Davis wandered off into in the 70's, and do only pseuds like it.

The question is whether this is the best album ever made.

Pharoah's dance knocks most modern orchestral music into a much-needed hole in the ground - its atonal genius - only Stockhausen could even get close to this match of mood and insane key combinations - is unsurpassed.

Bitches brew has a groove so deep that when you really hear it (maybe second listen, maybe third) you almost salute it - its dark, african and american - city and jungle - jesus its superb.

And if you don't like Spanish Key you are very likely dead.

Magisterial Miles, 09 Sep 2008
I'd be some kind of pretentious idiot if I tried to give any kind of in depth review of this album, so I'll keep it short. I have just come back to this particular album after a 23 year absence: it's incredible, quite incredible. The sound quality over my original vinyl copy is breathtaking and within minutes of hearing Pharoah's Dance, I am caught and off and running. Bitches Brew rewards the listener on so many levels;complexity, drive and sublime intelligence.

Columbia/Legacy are to be highly praised with the packaging; the sleeve notes are copious and very detailed

Hey, you know that Desert Island disc thing? Well, it'd be a toss up here between Bitches Brew and Trout Mask Replica.............

Finally, an open question: how come every time I listen to Miles Davis, it makes me want to cook for my friends?

Answers on a postcard to the usual address.............

one of the several excellent miles davis discs., 31 Dec 2007
this is a very good album from miles davis and i think it is one of his best works besides kind of blue even though b^$tches is a bad word, every song on this disc is a masterpiece on this 2 disc set. i'm so sad that he is dead because i would love to see him in concert. anyways, this cd is highy recommended.

Not for the faint-hearted!, 24 Sep 2007
I first heard this album about 5 years ago after hearing of its legendary status from various different sources. It was too much for me to stomach back then having only heard miles' earlier cool jazz and modal jazz albums. But on hearing it again earlier this year I immediately fell in love with it and its now easily among my favourite albums of all time! For jazz purists this is often seen as a real kick in the teeth as it breaks away from all the confines of the stereotypical acoustic jazz band and offers a very different aesthetic to most of Miles' earlier work.

The album is driven by a gritty groove very influenced by rock music at the time. To understand where he was coming from here I would recommend his previous album In A Silent Way and perhaps those leading up to it.

not very good, 17 Sep 2007
This album is very pretentious. I got it as I like birth of the cool and someday my prince will come. They are albums that make you smile as they are beautiful and impressive. However, this is ridiculous. I should have guessed from the photo of miles davis looking like a poser - but I forgive him as he is very talented; this is experimentation, understandable to want to experiment. If like me you like to pick out jazz that is unpretentious and not all smoothy-smoochy, check out django reinhardt djangoloy and louis armstrong hot fives and sevens (and the aforementioned decent miles davis albums). That is real music, and music that is intelligent without falling into the trap of disappearing up your own ass in an introverted neurotic pile of vain nonsense.

Again, I'd like to remind that I like miles davis a lot when he's on form.

More mysterious than the Holy Grail., 07 Jul 2008
Forgive the tital, but how exactly do I define an album such as this, or indeed an artist like Mingus? This is the most undoubted five-star I have ever given, because, unlike most art, which either seems clear and gives you a good impression, or seems clear but gives you a banal impression, this does not seem clear ( in any of the multiple meanings of the term) , but gives you a transcendentally impressed feeling afterwards.
Certainly, it does seem quite gloomy. The title makes me think of some sort of lost scripture, with depressing implications for the fate of mankind, and the music is a series of movements circulating around the theme of damnation and torture in chains. The sounds which emerge: thundering, percussive drums, screaming brass, heavy piano, and frankly tempestuous bass from Mingus. The one sound that redeems: the guitar. We feel as if this one voice holds the key to the redemption of the Black Saint and his Sinner Lady, and yet somehow he is still bound down in chains by a clever clash between the alternating keys of the two sections- the guitar and the rest of the orchestra.
If I gave you one reason to buy it, i would say that it is the centre of Mingus's canon, and indeed, the rest of the over 17000 LPs that Impulse released in its lifetime. In its cryptic quality, it fulfils some essentia l sensory longing for coherence. In 1966, when this was recorded, Charles Mingus was undergoing, according to his Biography, some more extensive therapy for his nervous disorder. I assure you that his genius has never been as apparent as on this record, where he fights against the worldly oppression which at the same time represents his natural condition. And yet, one feels that this is the unfulfilment of his wishes.
A final note, and one which every reviewer notes when dealing with this album: his psychiatrist wrote the liner notes. I think just that fact does not need explaining, and neither ( although I have hypocritically attempted to do so!) does his music. "Listen and behold the beautiful Black Mirical". Rahsaan Roland Kirk.

He must be laughing, 07 Apr 2008
I bought an early vinyl copy of this album when it was first issued and got much amusement (as did my parents) from playing it to unsuspecting friends. Their movement, or lack of it, was most revealing. Very few noticed what the previous 5 reviewers also seem to have missed, that this is the most accomplished and most explicit musical description of sexual activity that has ever been recorded. Track 2 most obviously. When I met him at Ronnie Scott's, he confirmed that it was his favourite trap for the pretentious. Brilliant.

epic jazz masterpiece, 19 Sep 2007
Anyone who has enjoyed Mingus's shorter compositions and arrangements from earlier landmark LPs, for example 'Ah Um' and 'Dynasty' will absolutely love this, as 'The Black Saint...' contains all of Mingus's trademark compositional techniques from those albums and much (much) more - Charles Mariano's fervent alto sax solos, the typical Mingus style slow build-up accelerating to fantastic climaxes, the Ellington-inspired orchestrations (with unusual instrumental combinations and stylistic clashes - an example being the allusions to flamenco guitar). The sheer density (both in texture and stylistic layering) have sometimes led to criticism of this album, but for me, this is what makes it so richly rewarding. This is some of the most passionate music you will ever hear.

One of Mingus's finest, 14 Apr 2005
I must admit that there are a fair few composers in jazz that I would put at the top of my list before Charles Mingus, (think Ellington, Nichols, Monk, Shorter, Hill, etc) yet there cannot be any more exciting opening than "Track A - Solo Dancer" on "The Black Saint and the sinner lady. " Stoked by the drums of Danny Richmond, the band swirls around the grumbling tones of the tuba in a kaleidoscope of colours, the time signatures constantly shifting before a piercing soprano solo rounds things off, pursued by the growling brass. This is nothing short of incredible.
More than any other recording, this offering demonstrates the bassist's love of the music of Duke Ellington - indeed Rolf Ericson and Quentin Jackson played for the master at one time or the other. Elsewhere, Charlie Mariano's alto evokes Johnny Hodges. The second movement is even more bizarre, an over-blown 1940's big band ballad ( a very strong theme, this one) that morphs into a barbaric vamp on one chord. Jackson's "Tricky Sam" influenced muted trombone is a highlight here - the only way to play the instrument to my ears. After this, there is a bit of flamenco incongruously thrown in. Listening to this over and over again, it becomes impossible to calculate what was written and was improvised. What is certain , is that this music must have taken alot of energy to perform and the rendition of the composition is brilliant, all the musicians seeming determined to ensure it's success and having huge belief in the music.
Here was a composer who was familliar with the whole history of jazz and not ashamed to employ earlier devices such as the Ellingtonesque trumpets and trombone to add richness to the work.
As with much of Mingus's music, there a few dull moments, particularly in the last movement and the composition as a whole could have done with a few more themes rather than the opening one that is repacitulated on many occasions. However, this is rather curmudgeonly as, after "Ah, um", this is Charles Mingus's greatest recording.
In conclusion , this is another essential purchase for a serious jazz collection.

Prepare to be moved, 20 Jan 2005
I thought after 30 years of listening to music I could no longer be surprised. Wrong. I don't think a recording has ever stunned me the way Black Saint has. It's like nothing you've ever heard before, yet it has an emotional impact that is all too familiar and that touches your very core. It ebbs and flows with a dynamic grace and truth that is clearly a reflection of a genius, of a mind that could encapsulate all the highs and lows of the human condition like few others. Don't miss the opportunity to have this in your collection. It will truly blow you mind. The only caveat is this: every other record you have will seem tame for a long time afterwards.

Eric Dolphy was among the most daring, impassioned and technically assured improvisers to come of age in the 1960s and Out to Lunch! represents his most fully realised vision. From his ground-breaking work with Chico Hamilton and Charles Mingus, through his catalytic stint with John Coltrane, and all through his brilliant solo recordings for Prestige, this reed innovator defined the best elements of the swing and the bebop traditions, from Benny Carter through Bird, while extending on the rhythmic, melodic and harmonic freedom of Monk. Dolphy is an emotional shaman with a keen comic edge, as is evident in the rhythmic sauntering, drunken gait of his theme to "Straight Up and Down," and Monk's influence is clearly discernible in Dolphy's witty dissonances and vocalised blues phrasing throughout Out to Lunch! (his only Blue Note recording, completed shortly before his untimely death). Rhythm masters Richard Davis, Bobby Hutcherson and Tony Williams suspend time at will, sculpting in open space, while deconstructing the harmony and superimposing cubist rhythmic displacements--periodically regrouping around Freddie Hubbard's bumblebee trumpet and the leader's vocalised bass clarinet (his Monkish "Hat and Beard"), wailing alto (the martial parodies of the title tune), and exhilarating flute (the lyric, swinging "Gazzelloni"). --Chip Stern

If you're sick of "Slade" and Wizzard", give this a go!!, 26 Oct 2007
This is my favourite Christmas CD, it has something for everyone! It's the perfect antidote for the tired old tunes that everyone plays at Christmas (if I hear "I wish it could be Christmas every day" one more time I won't be responsible for my actions), the highlights being "Zat you Santa Claus?" by Louis Armstrong and "Silent Night" by Dinah Washington.
Give it a go and you won't be disappointed, especially at this price!!

A nice Christmas collection, 10 Nov 2004
My wife and I enjoy this collection. There is a little traditional, a little modern, some soulful, some fun. A relaxing mix of music to settle down with.

Get this Album, 11 Nov 2008
Must have. It's a great album. Not much else to write that has not been written. Great trio and must have album

songs and praises, 23 Oct 2008
As with the case of fellow veteran and former Stenson collaborator Charles Lloyd, 2008 has seen Bobo Stenson release his finest album in at least a decade. "Cantando" has the purity of sound and consistency of 2000's "Serenity" and the diversity of 2005's "Goodbye" but where the latter's mix of originals, classical pieces, the odd standard and Latin numbers was uneven, here it gels wonderfully. Indeed there are few groups who move at all from the elegant tango of Astor Piazolla's "Chiquilin de Bachin" to the extended improvisation of the 13 minute "Pages" to the restless energy of Ornette Coleman's "A Fixed Goal" to the Alban Berg-composed "Liebesode" and none of whom I can think who do such with such verve and ease.

As before, Stenson's piano playing has a crystalline quality, full and inventive without being showy or fussy. Anders Jormin remains the perfect foil deploying his signature use of bowed bass on a number of tracks. Much has been written of young drummer Jon Falt who has performed live in the Stenson trio for a number of years but makes his recording debut follows in the intimidating lineage of Jon Christenson and Paul Motian. Suffice to say that he more than matches his illustrious predecessors.

Despite the sustained excellence, the highlights are the two versions of "Song of Ruth", by Petr Eben who, until his recent death, was the most prominent contemporary Czech composer if not the leading cultural figure in his country. The interpretations of the track originally scored for organ and soprano are full of yearning and atmosphere and provide a perfect snapshot of the interplay between piano, bass and percussion and the fact that the trio never ceases to sing throughout this wonderful release.


Piano playing at its best, 22 Oct 2007
I first heard this record at a friends house. I was completely blown away. I went straight to the first record store and bought it. Since then it became my favorite Jazz album of all times, and has put Keith Jarret, in my opinion, on the top of the world's greatest piano players.
I've been a fan ever since and bought every single live album he has released. They are all amazing, but there's no love like the first one.
No record collection will be complete without it.


THIS is real music!, 10 May 2007
One cannot express in words the beauty of this music. It is utterly raw, coming straight from the heart, a work of sheer genius. Whilst many pieces of so-called piano jazz easily lend themselves to the background of an occasion, the Koln Concert demands constant attention; with all of its changes in tempo, key, style and melody, the listener is enticed into the music, eagerly awaiting the next delicate keystrokes. Indeed, rather than being required to glean the often precious-few moments of brilliance from much music, with Keith Jarrett at the piano, the listener finds these instances thrust upon them every few seconds!

If you concentrate on the music for just a minute, you will find melodies which would ordinarily be the core of a piece, but which in this situation are simply played fleetingly, only to be replaced by yet another gorgeous tune.

I highly recommend this music to absolutely anyone; you do not have to be a jazz-lover to appreciate it! Even if you have never listened to this genre before (I am still unsure as to what "this genre" actually is!!), I sincerely appeal to you to give it a go! I promise you won't be disappointed!

If you do decide to purchase this album, and enjoy it anywhere near as much as I have, may I also recommend the Sun Bear Concerts, the Paris Concert, and Live at Carnegie Hall for more of the same! Jarrett has also played in a jazz trio, with Gary Peacock and Jack DeJohnette, and their music is also excellent. Other jazz pianists who I have found to have a similar touch include; Brad Mehldau, Bill Evans and Michael Wollny, although their music tends not to be improvised.

Happy listening!

a work of genius, 26 Feb 2007
Is Jarrett playing the piano or is the piano playing Jarrett or is the music playing both of them? This is beyond improvisation. Jarrett is responding to every note, totally in the moment.

by the way - sorry to be pedantic, but it wasn't in the opening of Carnal Knowledge (released in 1971, 4 years earlier than the concert) but in Nicholas Roeg's Bad Timing starring Teresa Russell and Art Garfunkel. That's the first time I heard the Koln Concerto and I couldn't wait till the end of the film to find out what the music was.

AWESOME, 09 Sep 2006
I am a musician and a teacher in a Special School and I have never been moved so much in the whole of my life as when listening to Part 1 of the Koln concert - it overwhelms me with emotion - wonderful awesome. Oh to the power of music.

Brilliance personified, 07 Sep 2006
This is the Keith Jarrett album that made ECM records, and I believe it is now the best selling solo Piano record ever.

The history behind this famous recording is now legendary. Jarrett hadn't slept for 24 hours prior to the concert. The wrong Piano was brought along for the event and couldn't be changed. Jarrett was kept waiting in an Italian Restaurant prior to the concert and had to bolt his food down to be back the auditorium in time.

The recording very nearly never took place, but in the end Eicher and Jarrett decided to make a documentary recording because they had already paid for the recording facilities.

The music itself is sublime. There are only 4 tracks. Track 1 is 26 mins and a marvel of improvised development. Starting in delicate minor bluesy mode and at 12 mins becoming a thunderous gospel influenced piece. I'm less keen on track 2 and 3 in which Jarrett gets into some of his repetitive grooves. There are still some great moments but as complete pieces they are a little less satisfying. Track 4 is a beautiful tune. Its hard to believe that Jarrett hadn't pre-composed this, but for those who are unaware this album and all of Jarretts solo Piano (non-classical) albums are improvised on the spot.

A bit of trivia part of the opening track was used as soundtrack music in the film "Bad Timing".



What a waste!, 24 Jun 2008
I can see how sax fans find this album a revelation but it is a stain on the track record of the Hilliard Ensemble. I can see (kinda) what the involved parties tried to do but it still is painful to listing to it and even with a lot of good will this is simply a waste of money and time. To all those admirers of the Hilliard Ensemble: Don't do it to yourself!


nauseating, 22 May 2008
This takes the cherries out of two cakes and leaves the cakes behind. They are glace cherries. Horribly sweet.

The sound of perfection, 04 Mar 2008
There are moments in life when you can become speechless,I have always liked the ethos of the ECM label,and in the the vast majority of albums they release hit such a standard that other labels can only dream of,this is aone such album.
Garbarek and the Hilliards are in a stratosphere of their own,this truly stunning album achieves a benchmark even in ECMs high standard.the music is never short of stunning with Garbarek weaving his magic spell with beautiful,gracefull and moving sounds so much so that the problems of the world seem to disapear.
The Hilliard ensembles vocal ambience was never better,and having seen Garbarek and the Hilliards perform this live in concert,this is no one hit wonder.
This album changed the way that i listen to music,if you get a chance let this into your life,soul and heart and you will feel much better for it.
The music is enchanting,haunting and beautiful,and dates from the 13th14th and 15th century and it is a credit to all performers that it still sounds fresh today,if you like this try Gothic Voices "A Feather on the breath Of God"
Buy this album and be at peace with yourself

Beautiful sounds., 16 Jan 2007
The first track on this CD takes my breath away every time I hear it. It really is stunningly beautiful.

However, if you are like the poor unfortunate "music fan" above who has become such a purist that you fail to just sit back and listen to beautiful sounds and melodies (this being after all what music is in its most basic form) then please don't buy this. No, saxaphone and choral music at first sounds like a disaster...but this WORKS. Yes, as one reviewer has already mentioned, some tracks work better than others, but music is there to be enjoyed, to be played with, to have fun with and enjoyed. I am betting the reviewer above is also one of the select few who cannot abide Classic FM because it has "commercialised THEIR music". Such a shame. Enjoy this music for what it is and if, like our friend "the above reviewer" you do not like the sound of a beautifully played saxaphone, this is fine, just acknowledge that you don't like sax music, rather than slating a talented musician.

To those who still let their ears and their hearts do the listening, rather than some pompous ideas about "knowing about music", listen to this. You'll love it.

It's how music makes you feel that really matters.Officium makes me feel just great!, 11 Oct 2006
While driving over the dreamy mountains of Leek and Buxton, I was fretting over whether or not I would get enough time to finish the job of laying a floor for my present demanding customer.I was taking those hairpins like a madman.I nearly skidded off the road and into a ravine hitting a high grass verge,which fortunatly saved my life.The car stalled,all was quiet except for a stiff breeze blowing through the open window and the radio.At that very moment a tone of emense wonderment and beauty, struck my ear, it was pure with great clarity, even angelic. Jan Garbarek was actually talking to ME,yes! directly communicating to me! Of course I did'nt know him it at the time, but his sax playing touched me so deeply it rested and stilled my racing heart. I was spellbound and was forced to listen to its magic voices right to its regretful conclusion.I sat there and made the time to reflect on what I had just heard,it took me an hour.I sedatly drove on with a smile on my face and a bent bumper,but I did'nt care.The next day I went out and purchased "Officium",(after much searching).Since discovering this masterpiece I have found it to be beneficial, in its calming influence and the best thing of all- IT'S JUST HOW IT MAKES YOU FEEL,GREAT!

This is the question, 24 Sep 2008
The question isn't whether this is a weird branch that Miles Davis wandered off into in the 70's, and do only pseuds like it.

The question is whether this is the best album ever made.

Pharoah's dance knocks most modern orchestral music into a much-needed hole in the ground - its atonal genius - only Stockhausen could even get close to this match of mood and insane key combinations - is unsurpassed.

Bitches brew has a groove so deep that when you really hear it (maybe second listen, maybe third) you almost salute it - its dark, african and american - city and jungle - jesus its superb.

And if you don't like Spanish Key you are very likely dead.

Magisterial Miles, 09 Sep 2008
I'd be some kind of pretentious idiot if I tried to give any kind of in depth review of this album, so I'll keep it short. I have just come back to this particular album after a 23 year absence: it's incredible, quite incredible. The sound quality over my original vinyl copy is breathtaking and within minutes of hearing Pharoah's Dance, I am caught and off and running. Bitches Brew rewards the listener on so many levels;complexity, drive and sublime intelligence.

Columbia/Legacy are to be highly praised with the packaging; the sleeve notes are copious and very detailed

Hey, you know that Desert Island disc thing? Well, it'd be a toss up here between Bitches Brew and Trout Mask Replica.............

Finally, an open question: how come every time I listen to Miles Davis, it makes me want to cook for my friends?

Answers on a postcard to the usual address.............

one of the several excellent miles davis discs., 31 Dec 2007
this is a very good album from miles davis and i think it is one of his best works besides kind of blue even though b^$tches is a bad word, every song on this disc is a masterpiece on this 2 disc set. i'm so sad that he is dead because i would love to see him in concert. anyways, this cd is highy recommended.

Not for the faint-hearted!, 24 Sep 2007
I first heard this album about 5 years ago after hearing of its legendary status from various different sources. It was too much for me to stomach back then having only heard miles' earlier cool jazz and modal jazz albums. But on hearing it again earlier this year I immediately fell in love with it and its now easily among my favourite albums of all time! For jazz purists this is often seen as a real kick in the teeth as it breaks away from all the confines of the stereotypical acoustic jazz band and offers a very different aesthetic to most of Miles' earlier work.

The album is driven by a gritty groove very influenced by rock music at the time. To understand where he was coming from here I would recommend his previous album In A Silent Way and perhaps those leading up to it.

not very good, 17 Sep 2007
This album is very pretentious. I got it as I like birth of the cool and someday my prince will come. They are albums that make you smile as they are beautiful and impressive. However, this is ridiculous. I should have guessed from the photo of miles davis looking like a poser - but I forgive him as he is very talented; this is experimentation, understandable to want to experiment. If like me you like to pick out jazz that is unpretentious and not all smoothy-smoochy, check out django reinhardt djangoloy and louis armstrong hot fives and sevens (and the aforementioned decent miles davis albums). That is real music, and music that is intelligent without falling into the trap of disappearing up your own ass in an introverted neurotic pile of vain nonsense.

Again, I'd like to remind that I like miles davis a lot when he's on form.

More mysterious than the Holy Grail., 07 Jul 2008
Forgive the tital, but how exactly do I define an album such as this, or indeed an artist like Mingus? This is the most undoubted five-star I have ever given, because, unlike most art, which either seems clear and gives you a good impression, or seems clear but gives you a banal impression, this does not seem clear ( in any of the multiple meanings of the term) , but gives you a transcendentally impressed feeling afterwards.
Certainly, it does seem quite gloomy. The title makes me think of some sort of lost scripture, with depressing implications for the fate of mankind, and the music is a series of movements circulating around the theme of damnation and torture in chains. The sounds which emerge: thundering, percussive drums, screaming brass, heavy piano, and frankly tempestuous bass from Mingus. The one sound that redeems: the guitar. We feel as if this one voice holds the key to the redemption of the Black Saint and his Sinner Lady, and yet somehow he is still bound down in chains by a clever clash between the alternating keys of the two sections- the guitar and the rest of the orchestra.
If I gave you one reason to buy it, i would say that it is the centre of Mingus's canon, and indeed, the rest of the over 17000 LPs that Impulse released in its lifetime. In its cryptic quality, it fulfils some essentia l sensory longing for coherence. In 1966, when this was recorded, Charles Mingus was undergoing, according to his Biography, some more extensive therapy for his nervous disorder. I assure you that his genius has never been as apparent as on this record, where he fights against the worldly oppression which at the same time represents his natural condition. And yet, one feels that this is the unfulfilment of his wishes.
A final note, and one which every reviewer notes when dealing with this album: his psychiatrist wrote the liner notes. I think just that fact does not need explaining, and neither ( although I have hypocritically attempted to do so!) does his music. "Listen and behold the beautiful Black Mirical". Rahsaan Roland Kirk.

He must be laughing, 07 Apr 2008
I bought an early vinyl copy of this album when it was first issued and got much amusement (as did my parents) from playing it to unsuspecting friends. Their movement, or lack of it, was most revealing. Very few noticed what the previous 5 reviewers also seem to have missed, that this is the most accomplished and most explicit musical description of sexual activity that has ever been recorded. Track 2 most obviously. When I met him at Ronnie Scott's, he confirmed that it was his favourite trap for the pretentious. Brilliant.

epic jazz masterpiece, 19 Sep 2007
Anyone who has enjoyed Mingus's shorter compositions and arrangements from earlier landmark LPs, for example 'Ah Um' and 'Dynasty' will absolutely love this, as 'The Black Saint...' contains all of Mingus's trademark compositional techniques from those albums and much (much) more - Charles Mariano's fervent alto sax solos, the typical Mingus style slow build-up accelerating to fantastic climaxes, the Ellington-inspired orchestrations (with unusual instrumental combinations and stylistic clashes - an example being the allusions to flamenco guitar). The sheer density (both in texture and stylistic layering) have sometimes led to criticism of this album, but for me, this is what makes it so richly rewarding. This is some of the most passionate music you will ever hear.

One of Mingus's finest, 14 Apr 2005
I must admit that there are a fair few composers in jazz that I would put at the top of my list before Charles Mingus, (think Ellington, Nichols, Monk, Shorter, Hill, etc) yet there cannot be any more exciting opening than "Track A - Solo Dancer" on "The Black Saint and the sinner lady. " Stoked by the drums of Danny Richmond, the band swirls around the grumbling tones of the tuba in a kaleidoscope of colours, the time signatures constantly shifting before a piercing soprano solo rounds things off, pursued by the growling brass. This is nothing short of incredible.
More than any other recording, this offering demonstrates the bassist's love of the music of Duke Ellington - indeed Rolf Ericson and Quentin Jackson played for the master at one time or the other. Elsewhere, Charlie Mariano's alto evokes Johnny Hodges. The second movement is even more bizarre, an over-blown 1940's big band ballad ( a very strong theme, this one) that morphs into a barbaric vamp on one chord. Jackson's "Tricky Sam" influenced muted trombone is a highlight here - the only way to play the instrument to my ears. After this, there is a bit of flamenco incongruously thrown in. Listening to this over and over again, it becomes impossible to calculate what was written and was improvised. What is certain , is that this music must have taken alot of energy to perform and the rendition of the composition is brilliant, all the musicians seeming determined to ensure it's success and having huge belief in the music.
Here was a composer who was familliar with the whole history of jazz and not ashamed to employ earlier devices such as the Ellingtonesque trumpets and trombone to add richness to the work.
As with much of Mingus's music, there a few dull moments, particularly in the last movement and the composition as a whole could have done with a few more themes rather than the opening one that is repacitulated on many occasions. However, this is rather curmudgeonly as, after "Ah, um", this is Charles Mingus's greatest recording.
In conclusion , this is another essential purchase for a serious jazz collection.

Prepare to be moved, 20 Jan 2005
I thought after 30 years of listening to music I could no longer be surprised. Wrong. I don't think a recording has ever stunned me the way Black Saint has. It's like nothing you've ever heard before, yet it has an emotional impact that is all too familiar and that touches your very core. It ebbs and flows with a dynamic grace and truth that is clearly a reflection of a genius, of a mind that could encapsulate all the highs and lows of the human condition like few others. Don't miss the opportunity to have this in your collection. It will truly blow you mind. The only caveat is this: every other record you have will seem tame for a long time afterwards.

Way ahead of it's time, 24 Nov 2006
Make sure you do some reading up on Eric Dolphy before you buy this. Don't expect to hear anything resembling the winning Blue Note hard bop formula characteristic of the fifities and sixties. As far as Jazz goes this is way ahead of it's time, those who know the contemporary Jazz scene will know that there are plenty of acts out there who try and sound exactly like what you hear on this record.
OK, it's not easy listening. For me Dolphy's compositions are no way near as compelling as some of Ornette Colman's for example. It's quirky, mysterious, it has you scratching your chin trying to figure it all out. "Gazzelloni," starts off as very accessible before disappearing into some great flute loops. Add to that William's nuerotic sounding drums and it makes for interesting listening. Freddie Hubbard holds the record up in terms of his melodic contribution. Hutcheron's style of playing naturally leads to what Dolphy was trying to achieve on this record, the music heads down plenty of alleyways. I'm not going to tell lies, I only dig this out now and again when nobody else is around and give it a listen. It's challenging and gives an indicator of what would happen a lot lot later.

Playful playing., 09 Dec 2004
I have to admit my jazz collection is quite slim and most of it predates the 1950's but I love the music on 'Out To Lunch'. Like others have contested, this is not free-jazz, much of the music opens with a melody line no matter how angular and dissonant before each member gets a chance to improvise. The opening 'Hat and Beard' (a tribute to Thelonious Monk) sets the tone for the rest of the album, the track roots itself in its synchopated beginning before leaping off into some interesting solos including a great one by vibist Bobby Hutcherson. Rhythm section Davis and Williams aren't so 'free' here maintaining an elegant groove. On 'Something Sweet, Something Tender', Hubbard sounds almost conservative, his playing evoking memories of 50's bop. There's some wonderful improvised bass by Richard Davis (also heard on Van Morrison's criticaly acclaimed 'Astral Weeks') and then Dolphy enters flouting all his exhuberance on clarinet. 'Gazzelloni' begins like the movie theme from an architypal 60's film, with a foot-tapping rhythm that again challenges the notion that this is a free-jazz album. There's some remarkable interplay between Hutcherson and Williams as they flow behind Dolphy's flute and Hubbard's trumpet. Hubbard comes to the fore again on 'Out To Lunch' where his trumpet runs like a bumble bee after Dolphy's bird-flying alto-sax solo. For a moment the rhythm breaks into a pounding monotone, then a bass flourish before the drums take us back to the original melody. Then comes the final drunken swagger of 'Straight Up And Down' where Hubbard's playing is almost conventional above the rhythm section indulging themselves, while Hutcherson goes on another flamboyant run, demonstrating what this album encapsulates most, an unrestrained sense of playfulness.

Difficult going., 14 Jan 2004
I came to this music on the strength of the recommendations which it recieved. When I listened to it about four times and discarded it initially I thought that it was very thin on melody or much in the way of preconcieved quality music. Certainly, I could hear nothing to warrant the extreme praise which I have seen it recieve.
Returning to it months later, I began to warm to the first two tracks, the second of which being my favorite at present. Perhaps it was simply because I was not initially used to Dolphy's style that it took so long for me to get used to it.
It occured to me then that, if like me you are new to this huge genre, then there are so many high quality records which don't require so much effort, why not chose them instead?

Challenging and massively rewarding music, 02 Jun 2001
Out to Lunch! is one of the most important jazz albums of the 1960s. The clarity of the recording, the individual space accorded each instrument, the meticulous attention to the nuances, the refined texture of the overall sound, the sheer presence of each recorded moment - these were the hallmarks of its sound.

The coming together of Eric Dolphy, Freddie Hubbard, Bobby Hutcherson, Richard Davis and Tony Williams on Out to Lunch! was a momentous event. Dolphy had made a clutch of records for Prestige in the years leading up to this record, the most significant probably being the famous Five Spot live sessions with Booker Little that would promise so much but be cut short by Little's death from uraemia. Out to Lunch! was to be his single, most unsettling masterpiece.

It's not an easy album to become fond of. It insinuates melodies before it cuts them short, it ruthlessly breaks up harmony into fragments and it stretches the limits of tonality to extremes, but perhaps its triumph is that it brings swing into a new era. By giving Davis and Williams space and freedom, Dolphy let swing become a by-product of interaction, not a conscious contrivance. The rhythmic complexity of the record knew no precedent.

A Masterpiece, 14 Jan 2001
I have to redress the balance of the other review and bump up the star ratings. This is a CLASSIC and unmissable album, whose sound is still unique today. Despite the 'free'ish jazz, there is a very tight structure and plan to each track. This contradiction is what draws me to Dolphy's music. The second track 'Something Sweet, Something Tender' includes a brilliant inter-change between Dolphy and a bowed bass. This is music of the very highest standard and show-cases the individuality of Dolphy as a composer and soloist. It doesn't fall into any known category, so is as likely to appeal to a modern classical fan as a jazz fan.