[SACD-R][OF] Keith Jarrett - The Köln Concert (The Koln Concert) - 1975/2017 (Jazz, Solo Piano, Post Bop, Free Improvisation)
![[SACD-R][OF] Keith Jarrett - The Köln Concert (The Koln Concert) - 1975/2017 (Jazz, Solo Piano, Post Bop, Free Improvisation)](/upload/000/u2/ab/ff/sacd-r-of-keith-jarrett-the-k-ln-concert-the-koln-concert.jpg "[SACD-R][OF] Keith Jarrett - The Köln Concert (The Koln Concert) - 1975/2017 (Jazz, Solo Piano, Post Bop, Free Improvisation)")
Треклист:
Keith Jarrett
The Köln Concert
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 1975/2017
Жанр: Jazz, Solo Piano, Post Bop, Free Improvisation
Издатель (лейбл): ECM Japan
Продолжительность: 00:66:05
Наличие сканов в содержимом раздачи: Да (сканы)
Треклист:
1. Köln, January 24, 1975 Part I
2. Köln, January 24, 1975 Part II A
3. Köln, January 24, 1975 Part II B
4. Köln, January 24, 1975 Part II C
Composed By, Piano – Keith Jarrett
Контейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0
Доп. информация: Released 1975
Recorded January 24, 1975, Cologne, Germany
Producer Manfred Eicher
Design [Cover Design] – B&B Wojirsch
Photography By – Wolfgang Frankenstein
Remastered By – Christoph Stickel
ECM Records – PROZ-1087; Released: 08 Mar 2017
ISO image and DSF files ripped direct and unretouched using an Oppo BDP-105D, Sonore ISO2DSD, and sacd_extract.
Источник (релизер): Darkivist (PS³SACD)
https://www.discogs.com/Keith-Jarrett-The-K%C3%B6ln-Concert/release/10194501
http://www.cdjapan.co.jp/product/NEODAI-14025
The Köln Concert
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 1975/2017
Жанр: Jazz, Solo Piano, Post Bop, Free Improvisation
Издатель (лейбл): ECM Japan
Продолжительность: 00:66:05
Наличие сканов в содержимом раздачи: Да (сканы)
Треклист:
1. Köln, January 24, 1975 Part I
2. Köln, January 24, 1975 Part II A
3. Köln, January 24, 1975 Part II B
4. Köln, January 24, 1975 Part II C
Composed By, Piano – Keith Jarrett
Контейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0
Доп. информация: Released 1975
Recorded January 24, 1975, Cologne, Germany
Producer Manfred Eicher
Design [Cover Design] – B&B Wojirsch
Photography By – Wolfgang Frankenstein
Remastered By – Christoph Stickel
ECM Records – PROZ-1087; Released: 08 Mar 2017
ISO image and DSF files ripped direct and unretouched using an Oppo BDP-105D, Sonore ISO2DSD, and sacd_extract.
Источник (релизер): Darkivist (PS³SACD)
https://www.discogs.com/Keith-Jarrett-The-K%C3%B6ln-Concert/release/10194501
http://www.cdjapan.co.jp/product/NEODAI-14025
Лог DR
foobar2000 1.3.13 / Замер динамического диапазона (DR) 1.1.1 Дата отчёта: 2017-07-25 11:51:15 -------------------------------------------------------------------------------- Анализ: Keith Jarrett / The Koln Concert(Live At The Opera, Koln / 1975) -------------------------------------------------------------------------------- DR Пики RMS Продолжительность трека -------------------------------------------------------------------------------- DR11 -0.40 дБ -15.32 дБ 26:09 01-Koln, January 24, 1975, Pt. I(Live) DR10 -1.40 дБ -16.10 дБ 14:56 02-Koln, January 24, 1975, Pt. II A(Live) DR10 -0.69 дБ -15.85 дБ 18:15 03-Koln, January 24, 1975, Pt. II B(Live) DR11 -2.56 дБ -19.08 дБ 6:58 04-Koln, January 24, 1975, Pt. II C(Live) -------------------------------------------------------------------------------- Количество треков: 4 Реальные значения DR: DR10 Частота: 2822400 Гц / Частота PCM: 88200 Гц Каналов: 2 Разрядность: 24 Битрейт: 5645 кбит/с Кодек: DSD64 ================================================================================
Об альбоме (сборнике)
The Köln Concert is a concert recording by the pianist Keith Jarrett of solo piano improvisations performed at the Opera House in Cologne (German: Köln) on January 24, 1975. The double-vinyl album was released in the autumn of 1975 by the ECM Records label to critical acclaim, and went on to become the best-selling solo album in jazz history, and the all-time best-selling piano album, with sales of more than 3.5 million.
All Music Review
Recorded in 1975 at the Köln Opera House and released the same year, this disc has, along with its revelatory music, some attendant cultural baggage that is unfair in one sense: Every pot-smoking and dazed and confused college kid — and a few of the more sophisticated ones in high school — owned this as one of the truly classic jazz records, along with Bitches Brew, Kind of Blue, Take Five, A Love Supreme, and something by Grover Washington, Jr. Such is cultural miscegenation. It also gets unfairly blamed for creating George Winston, but that’s another story. What Keith Jarrett had begun a year before on the Solo Concerts album and brought to such gorgeous flowering here was nothing short of a miracle. With all the tedium surrounding jazz-rock fusion, the complete absence on these shores of neo-trad anything, and the hopelessly angry gyrations of the avant-garde, Jarrett brought quiet and lyricism to revolutionary improvisation. Nothing on this program was considered before he sat down to play. All of the gestures, intricate droning harmonies, skittering and shimmering melodic lines, and whoops and sighs from the man are spontaneous. Although it was one continuous concert, the piece is divided into four sections, largely because it had to be divided for double LP. But from the moment Jarrett blushes his opening chords and begins meditating on harmonic invention, melodic figure construction, glissando combinations, and occasional ostinato phrasing, music changed. For some listeners it changed forever in that moment. For others it was a momentary flush of excitement, but it was change, something so sorely needed and begged for by the record-buying public. Jarrett’s intimate meditation on the inner workings of not only his pianism, but also the instrument itself and the nature of sound and how it stacks up against silence, involved listeners in its search for beauty, truth, and meaning. The concert swings with liberation from cynicism or the need to prove anything to anyone ever again. With this album, Jarrett put himself in his own league, and you can feel the inspiration coming off him in waves. This may have been the album every stoner wanted in his collection “because the chicks dug it.” Yet it speaks volumes about a musician and a music that opened up the world of jazz to so many who had been excluded, and offered the possibility — if only briefly — of a cultural, aesthetic optimism, no matter how brief that interval actually was. This is a true and lasting masterpiece of melodic, spontaneous composition and improvisation that set the standard.
All Music Review
Recorded in 1975 at the Köln Opera House and released the same year, this disc has, along with its revelatory music, some attendant cultural baggage that is unfair in one sense: Every pot-smoking and dazed and confused college kid — and a few of the more sophisticated ones in high school — owned this as one of the truly classic jazz records, along with Bitches Brew, Kind of Blue, Take Five, A Love Supreme, and something by Grover Washington, Jr. Such is cultural miscegenation. It also gets unfairly blamed for creating George Winston, but that’s another story. What Keith Jarrett had begun a year before on the Solo Concerts album and brought to such gorgeous flowering here was nothing short of a miracle. With all the tedium surrounding jazz-rock fusion, the complete absence on these shores of neo-trad anything, and the hopelessly angry gyrations of the avant-garde, Jarrett brought quiet and lyricism to revolutionary improvisation. Nothing on this program was considered before he sat down to play. All of the gestures, intricate droning harmonies, skittering and shimmering melodic lines, and whoops and sighs from the man are spontaneous. Although it was one continuous concert, the piece is divided into four sections, largely because it had to be divided for double LP. But from the moment Jarrett blushes his opening chords and begins meditating on harmonic invention, melodic figure construction, glissando combinations, and occasional ostinato phrasing, music changed. For some listeners it changed forever in that moment. For others it was a momentary flush of excitement, but it was change, something so sorely needed and begged for by the record-buying public. Jarrett’s intimate meditation on the inner workings of not only his pianism, but also the instrument itself and the nature of sound and how it stacks up against silence, involved listeners in its search for beauty, truth, and meaning. The concert swings with liberation from cynicism or the need to prove anything to anyone ever again. With this album, Jarrett put himself in his own league, and you can feel the inspiration coming off him in waves. This may have been the album every stoner wanted in his collection “because the chicks dug it.” Yet it speaks volumes about a musician and a music that opened up the world of jazz to so many who had been excluded, and offered the possibility — if only briefly — of a cultural, aesthetic optimism, no matter how brief that interval actually was. This is a true and lasting masterpiece of melodic, spontaneous composition and improvisation that set the standard.