On January 24, 1975, Keith Garrett performed a single performance of the piano at the Opera House in Cologne, Germany. The ceremony lasted slightly more than an hour old, and it was completely improvised, and it was recorded and turned into a dual album, “The Köln Concept”, which was later released that year. The single album has become the best -selling album in the history of jazz, as well as the best -selling piano album. And when you listen to it, you can hear the cause.
The seventies of the last century were the piano era. Billy Joel and Elton John, as well as the Korea, Hirby Hancock, Jean Hamer and Jarrett. There are Keith Jarrett albums that have more dazzling fireworks than “The Köln Concept” (such as “Bremen/Lausanne”, from 1973, as it enters into it as Contrappuntality makes it look like Js Bach with a groove on the Bible). But the “Köln concert”, despite all the joyful dolls, exudes a very big atmosphere of its time. It is cheerful, however calming. Sometimes, the pastoral mood that will make the new pianist George Winston is very popular, and in other cases, this auditory equivalent of the impressionist drawing of the painful sunset that I saw at all. As the pianist, Jarrett was like the brother of the spirit of Rashmannov through him with Rabudi Al -Jazz. In the movie “The Köln Concent”, a foolish Kakovonian shivered with it for 50 years as a kind of meditation. It is music to go out to it.
“Köln 75”, which is the slight, strange and mutant IDO Fluk biography, tells the story of that concert. It comes to how the legendary Garrett’s performance does not occur, and how even when this happened, this was a state of making lemon juice from lemon, as various factors indicate that they will be a disaster. But although Jarrett is a character in “Köln 75” (he played, with convincing intensity, by John Majao), the film revolves around everything that led to the concert. The central character, Vera Brandes (Mala Emde), is a 18-year-old Spitfire that organized the concert, promoted, and-in a decisive moment-Garrett passed with her, after he decided to retreat.
You will not hear a drop of Keith Jarrett music in “Köln 75.” Early, when the narrator compares the voice of Jarrett improvisation by watching Michelangelo drawing the ceiling of the Sistine Church, then asking us to imagine how much we would like to return to the sixteenth century to watch Michael Anglo on this scaffold, he adds: This is a movie about the scaffolding. We believe, truly?
But then Mal Ed comes on the screen. She plays the role of Vera, and although the actress, in the late twenties, was very old for this, she behaves in the obsession of “Bani Jazz” in Vera teenage Art worship. “Köln 75” is a simple few, but it has an infectious spirit, which is held by the fourth jazz programs offered by the amazing music critic (Michael Cernos), who wanders in our appetite for Garrett.
Vera, who is only 16 years old when the movie opens, in a luxurious bourgeois apartment with her parents and bad brother, Fritz (Leo Mayer). Her father (Ulrich Toukur), a backward dentist, cannot imagine that there is anything about music that does not belong to the bottom. But Vera is not soaked. She shook a fan to a businesswoman when she was Rooney Scott (Daniel Bates), British saxophone player and club owner, fond of her that he is asking her to book a tour for him (we see her learning herself how to do it while flying). By the time when the head of the Opera House is speaking to allow Martre to perform on his legendary phase (it must be at 11:30 pm, immediately after the performance of the Lulu Lulu Dairy “),” Köln 75 “. This is the old thing, which is an emotional movie for the girl Although he was in an era he had a fierce player like Vera to get her power out every step on the road.
She needs 10,000 Deutsche signs to rent the hall, which her mother gives to the malicious; Vera promises that she will either push her or leave music works. But all of this is just a preparation for the main limit-a kind of cosmic sulfur. We picked up from Magaro on the road, after a concert in Switzerland, and the reason that he and his manager will spend all night driving 500 km to Cologne is that Garrett needs to be spent on a volleyball ticket, you will have enough money to keep the tour. This is the way you recruit jazz music that he plays doubtfully.
He got a bad back and tightly wound. Drowning, every night, in the amazing creative center of his soul will do so. (Each concert is trembling in the tour.) Upon arrival in Cologne, the final insult was faced: He asked the imperial imperial piano, but the tool that awaits it on stage is a broken external rehearsal. The piano with the records is higher and the lower dilapidated, the pedal does not work, and a more shook tone than the big. That’s it; Jarrett says it will not perform.
Vera convinces him that he seems to be the victory of the usual movie. However, it is richer than that. The fact that the legendary album like “The Köln Concent” has been improvised on the broken piano may seem the paradox of paradoxes, but it was not. The connection was more direct. Jarrett, who plays the piano, had restrictions that he was not accustomed to (had to abide near the medium term and could not be amazing), so the quiet quality of the Köln party – the quality that made it speak – this broken piano. This is the case that Vera makes to persuade him: that if he sits and plays, then the necessity or creation will be. In persuading it, I made the history of jazz. You do not need to be a fans of Keith Jarrett to enjoy “Köln 75”, but for anyone is a delicious story that deals with colors in its astronomical emergence.