Keith Jarrett - Radiance
Posted by: sjust on 07 May 2005
I just HAVE to open this thread to express my greatest respect and love to Keith Jarretts music, in general - and to his latest, long-awaited, long pre-ordered and now "conceived" life solo record.
Already done in 2002, this Osaka and Tokyo recording is - again! - a roller-coaster of musical adventures between (all improvised) free style and rather simplistic pieces that move me to tears (uhumm, yes...).
KJ's solo work is a musical category of his own. Not as wild and intellectual as - say - Cecil Taylor and alike. And, not trivially surfing on some strange "wellness" or "meditation" wave as - say - Ludovico Einaudi or George Winston. Allow him to enter your mind, and you'll see the stars. Oh, my, before I totally freak out, I should finish this post inviting everybody to shed feedback on his latest CD.
cheers
Stefan
Already done in 2002, this Osaka and Tokyo recording is - again! - a roller-coaster of musical adventures between (all improvised) free style and rather simplistic pieces that move me to tears (uhumm, yes...).
KJ's solo work is a musical category of his own. Not as wild and intellectual as - say - Cecil Taylor and alike. And, not trivially surfing on some strange "wellness" or "meditation" wave as - say - Ludovico Einaudi or George Winston. Allow him to enter your mind, and you'll see the stars. Oh, my, before I totally freak out, I should finish this post inviting everybody to shed feedback on his latest CD.
cheers
Stefan
Posted on: 08 May 2005 by Squonk
Stefan -
I have not found the time to listen to this properly yet where I can fully concentrate on it. What I have heard, there are some very challenging sections, but when the real melodic sections come on, it is pure heaven (tracks 3 and 8 on CD 1).
Found this review on the web that might interest
Cheers
Adrian
Radiance
Keith Jarrett | ECM Records
By James Taylor print email
Albums like Radiance always amaze me. The intimacy of listening to an incredible and accomplished musician like Keith Jarrett shed soul for all, engaging in self-conversation, meditation, and improvisation, is undeniably where it’s at. Radiance, ECM’s recent two-disc release of solo material, ranks right up there with The Koln Concert, Jarrett’s lauded 1975 classic.
Radiance was recorded live in 2002 during Jarrett's tour of Japan. Disc one and a third of disc two are culled from an Osaka performance, while the remainder of disc two was recorded in Tokyo three days later (ECM plans a DVD release of the complete Tokyo concert later this year). This is Jarrett’s first album of solo piano improvisations since La Scala (ECM, 1997).
Unlike The Koln Concert (ECM, 1975) and some of Jarrett’s other solo piano discs, Radiance is not an improvisational free-for-all. Movements hint at previous movements and preview ones to come—reminding me of Kerouac’s blues (“Mexico City Blues,” for starters) where ideas carry over from one poem to the next, showing the thought process at work, the thoughtful improviser on display. At times the album feels like a long conversation with an old friend—parts of it feel redundant (you’ll think, “haven’t I heard this before?”) but overall the excitement of hearing that old friend's voice again makes the conversation feel new.
This approach of coupling movements together as improvised “suites” makes Radiance refreshing and different from other selections from Jarrett’s discography. Also, Radiance couldn’t have been recorded in the late seventies, along with other classic Jarrett solo sets. The playing itself is just as solid, no doubt, but Jarrett’s vocabulary just seems that much broader, that much more complete, in 2002. He seems open to more impulses, making moments in his performance feel more carefree and honest.
Jarrett often leaves little break between movements, thus his audience’s applause is varied, coming only when the performer rests long enough to invite it. This rapid movement from one movement to the next, one idea or inspiration to the next, shows Jarrett’s range, his virtuosity really. Classical, jazz (free and/or swung), pop, Latin, and soul—all these voices speak from his hands.
Parts 3, 4, and 5 show this talent well. Part 3 showcases Jarrett’s beautiful and intense lyricism, with a melody that is very ‘70s pop, almost like a movie soundtrack of that era. Jarrett follows this with the short, jittery abstraction of Part 4 and then immediately leaps into the frenzied playing of the following selection.
Much of the record follows at this frenzied, chaotic, and free pace, which only helps to make the mellower, melodic parts even more soothing, as when the pop melody returns on Part 8.
No stranger to the solo concert, Jarrett really seems to opens himself up on Radiance, engaging in explicit conversation with whatever guides his fingers.
I have not found the time to listen to this properly yet where I can fully concentrate on it. What I have heard, there are some very challenging sections, but when the real melodic sections come on, it is pure heaven (tracks 3 and 8 on CD 1).
Found this review on the web that might interest
Cheers
Adrian
Radiance
Keith Jarrett | ECM Records
By James Taylor print email
Albums like Radiance always amaze me. The intimacy of listening to an incredible and accomplished musician like Keith Jarrett shed soul for all, engaging in self-conversation, meditation, and improvisation, is undeniably where it’s at. Radiance, ECM’s recent two-disc release of solo material, ranks right up there with The Koln Concert, Jarrett’s lauded 1975 classic.
Radiance was recorded live in 2002 during Jarrett's tour of Japan. Disc one and a third of disc two are culled from an Osaka performance, while the remainder of disc two was recorded in Tokyo three days later (ECM plans a DVD release of the complete Tokyo concert later this year). This is Jarrett’s first album of solo piano improvisations since La Scala (ECM, 1997).
Unlike The Koln Concert (ECM, 1975) and some of Jarrett’s other solo piano discs, Radiance is not an improvisational free-for-all. Movements hint at previous movements and preview ones to come—reminding me of Kerouac’s blues (“Mexico City Blues,” for starters) where ideas carry over from one poem to the next, showing the thought process at work, the thoughtful improviser on display. At times the album feels like a long conversation with an old friend—parts of it feel redundant (you’ll think, “haven’t I heard this before?”) but overall the excitement of hearing that old friend's voice again makes the conversation feel new.
This approach of coupling movements together as improvised “suites” makes Radiance refreshing and different from other selections from Jarrett’s discography. Also, Radiance couldn’t have been recorded in the late seventies, along with other classic Jarrett solo sets. The playing itself is just as solid, no doubt, but Jarrett’s vocabulary just seems that much broader, that much more complete, in 2002. He seems open to more impulses, making moments in his performance feel more carefree and honest.
Jarrett often leaves little break between movements, thus his audience’s applause is varied, coming only when the performer rests long enough to invite it. This rapid movement from one movement to the next, one idea or inspiration to the next, shows Jarrett’s range, his virtuosity really. Classical, jazz (free and/or swung), pop, Latin, and soul—all these voices speak from his hands.
Parts 3, 4, and 5 show this talent well. Part 3 showcases Jarrett’s beautiful and intense lyricism, with a melody that is very ‘70s pop, almost like a movie soundtrack of that era. Jarrett follows this with the short, jittery abstraction of Part 4 and then immediately leaps into the frenzied playing of the following selection.
Much of the record follows at this frenzied, chaotic, and free pace, which only helps to make the mellower, melodic parts even more soothing, as when the pop melody returns on Part 8.
No stranger to the solo concert, Jarrett really seems to opens himself up on Radiance, engaging in explicit conversation with whatever guides his fingers.
Posted on: 08 May 2005 by Squonk
Got it playing now and so far, so good.
Here is another review
Radiance
Keith Jarrett | ECM Records
By John Kelman print email
Witnessing anyone overcome adversity can be inspiring, but when someone with a profound talent becomes prematurely disabled, it becomes even more meaningful. When pianist Keith Jarrett was forced to cease touring due to an extended illness that afflicted him in the mid-‘90s, fans wondered if he’d ever play again. The release of his ’99 home recording, The Melody at Night, With You—while a welcome indication that he may have been down but certainly not out—still showed that he was only gradually returning to strength.
In the ensuing years since that solo effort, Jarrett has restricted his activities to his long-standing Standards Trio. Unsatisfied with previous attempts at returning to the kind of lengthy solo improvisations that produced significant works including The Köln Concerts and Sun Bear Concerts, it certainly appeared that Jarrett might not perform solo ever again.
The good news is that in ’02 Jarrett decided to give it another go, with one change: rather than performing a continuous improvisation, he would build his solo concerts from “discrete pieces drawn from each previous piece.” The result, Radiance, is an evocative double-disc set that combines the entire performance from Osaka on 10/27/02 with four pieces from a concert in Tokyo a few days later. Any doubts about Jarrett’s ability to sustain himself in the bare and exposed context of a completely improvised solo concert are laid to waste by the combination of powerful stream-of-consciousness thinking and remarkable spontaneous composition demonstrated throughout these nearly two-and-a-half hours of music.
Fans who pine for the old days of Jarrett the composer will be pleasantly surprised to find some of his pieces remarkably structured. One might even think, after listening to the delicate and hymnal “Part 3” and “Part 8,” that Jarrett could take these pieces and build them into more developed works for his trio. And the fact that pieces of such beauty and form could be pulled from the ether makes them all the more compelling.
Elsewhere, Jarrett is more abstract, with pieces that seem to build tension, sometimes never resolving. And while the performance eschews any real direct ties to the jazz tradition for the most part, revealing equal connections to contemporary classical music, there are some obvious ties, the ninety-second “Part 11” being a prime example with its remarkable bebop vibe.
What makes the entire set so rewarding is Jarrett’s incredible sense of intuition. There may be breaks between the pieces, but they so obviously derive from each other that the Osaka concert takes on a larger arc, with the Tokyo pieces a fitting coda. Jarrett seems to know just when to shift from free, intense abstraction to gentle, almost pastoral beauty, and there are few artists today who can structure a solo concert with such a strong sense of narrative and unerring intent.
Radiance is not just a return to form; it’s an instant classic of solo improvisation that is destined to rank highly among Jarrett’s strongest work.
Here is another review
Radiance
Keith Jarrett | ECM Records
By John Kelman print email
Witnessing anyone overcome adversity can be inspiring, but when someone with a profound talent becomes prematurely disabled, it becomes even more meaningful. When pianist Keith Jarrett was forced to cease touring due to an extended illness that afflicted him in the mid-‘90s, fans wondered if he’d ever play again. The release of his ’99 home recording, The Melody at Night, With You—while a welcome indication that he may have been down but certainly not out—still showed that he was only gradually returning to strength.
In the ensuing years since that solo effort, Jarrett has restricted his activities to his long-standing Standards Trio. Unsatisfied with previous attempts at returning to the kind of lengthy solo improvisations that produced significant works including The Köln Concerts and Sun Bear Concerts, it certainly appeared that Jarrett might not perform solo ever again.
The good news is that in ’02 Jarrett decided to give it another go, with one change: rather than performing a continuous improvisation, he would build his solo concerts from “discrete pieces drawn from each previous piece.” The result, Radiance, is an evocative double-disc set that combines the entire performance from Osaka on 10/27/02 with four pieces from a concert in Tokyo a few days later. Any doubts about Jarrett’s ability to sustain himself in the bare and exposed context of a completely improvised solo concert are laid to waste by the combination of powerful stream-of-consciousness thinking and remarkable spontaneous composition demonstrated throughout these nearly two-and-a-half hours of music.
Fans who pine for the old days of Jarrett the composer will be pleasantly surprised to find some of his pieces remarkably structured. One might even think, after listening to the delicate and hymnal “Part 3” and “Part 8,” that Jarrett could take these pieces and build them into more developed works for his trio. And the fact that pieces of such beauty and form could be pulled from the ether makes them all the more compelling.
Elsewhere, Jarrett is more abstract, with pieces that seem to build tension, sometimes never resolving. And while the performance eschews any real direct ties to the jazz tradition for the most part, revealing equal connections to contemporary classical music, there are some obvious ties, the ninety-second “Part 11” being a prime example with its remarkable bebop vibe.
What makes the entire set so rewarding is Jarrett’s incredible sense of intuition. There may be breaks between the pieces, but they so obviously derive from each other that the Osaka concert takes on a larger arc, with the Tokyo pieces a fitting coda. Jarrett seems to know just when to shift from free, intense abstraction to gentle, almost pastoral beauty, and there are few artists today who can structure a solo concert with such a strong sense of narrative and unerring intent.
Radiance is not just a return to form; it’s an instant classic of solo improvisation that is destined to rank highly among Jarrett’s strongest work.
Posted on: 08 May 2005 by sjust
Thank you very much Adrian, for collecting and sharing these reviews. Very informative (and widely agreed, too.)
It leaves me sad that it's just us two "old farts" again jumping on this very important 2005 publication. It re-confirms my picture of the "Music Room" and the forum in general, and reinforces me to communicate with a bunch of people, directly, without annoying others, here.
no cheers
Stefan
It leaves me sad that it's just us two "old farts" again jumping on this very important 2005 publication. It re-confirms my picture of the "Music Room" and the forum in general, and reinforces me to communicate with a bunch of people, directly, without annoying others, here.
no cheers
Stefan
Posted on: 08 May 2005 by hungryhalibut
Stefan
Just to cheer you up, I've ordered it too.
Nigel
Just to cheer you up, I've ordered it too.
Nigel
Posted on: 08 May 2005 by sjust
Thanks, Nigel, you'll be my friend forever 
!!!
Cheers again,
Stefan
PS: Happiliy waiting for some kind of report from your side...
!!!Cheers again,
Stefan
PS: Happiliy waiting for some kind of report from your side...
Posted on: 08 May 2005 by dave simpson
Stefan,
Another purchase last night thanks to your thread.
...back to Radiance disk 2!
Best regards,
dave
Another purchase last night thanks to your thread.
...back to Radiance disk 2!
Best regards,
dave
Posted on: 08 May 2005 by hungryhalibut
quote:Happily waiting for some kind of report from your side...
What sort would you like?
Nigel
Posted on: 08 May 2005 by sjust
Nigel,
What bells does it ring ? Does it involve you ? Does it leave you cold ? Puzzled ? Bored ? Does it keep you away from doing other things ? Do you get into the Osaka hall (and cough with the others...) ? Is it just another piano player that gets to sweat while he's playing ? Do you have to force yourself to continue listening or are you peeking at the track number because it could end too soon ?
That sort of "report".-
If you want...
cheers
Stefan
PS: dave - enjoy !
What bells does it ring ? Does it involve you ? Does it leave you cold ? Puzzled ? Bored ? Does it keep you away from doing other things ? Do you get into the Osaka hall (and cough with the others...) ? Is it just another piano player that gets to sweat while he's playing ? Do you have to force yourself to continue listening or are you peeking at the track number because it could end too soon ?
That sort of "report".-
If you want...
cheers
Stefan
PS: dave - enjoy !
Posted on: 08 May 2005 by dsteady
quote:Originally posted by sjust:
It leaves me sad that it's just us two "old farts" again jumping on this very important 2005 publication. It re-confirms my picture of the "Music Room" and the forum in general, and reinforces me to communicate with a bunch of people, directly, without annoying others, here.
no cheers
Stefan
Nonsense! I intend to go get it as soon as I am near my local Jazz shop -- and I don't think I'm an old fart yet. (Getting closer though.) I'm glad to gear these good reviews, I heard Jarrett had been suffering from CFS, and so it sounds like he may be recovering and having a return to form. My last Jarret purchase was "Whisper Not"and it left me a little empty, but I should probably listen to it a again.
By the way, I recently saw Tord Gustavsen, which was a mainly good show, and there were some beautiful improvisational riffs where he seemed to be paying homage to Jarrett. I'd urge anyone to go see him, the one thing that held it back though was his bassist's super laid back playing -- it almost seemed like he wasn't there. The drummer is phenomenal.
Stefan, I'm curious what is the picture of the "Music Room" that has been reconfirmed, as you put it? That's not meant as a challenge, I'm simply wondering. It seems like a lot of folks have dropped off in the last few months.
cheers,
daniel
Posted on: 08 May 2005 by Squonk
quote:Originally posted by dsteady:
My last Jarret purchase was "Whisper Not"and it left me a little empty, but I should probably listen to it a again.
You should - I think that Whisper Not is one of his best releases but maybe I am biased as I was at the show!
Adrian
Posted on: 09 May 2005 by sjust
quote:Originally posted by dsteady:
Nonsense! I intend to go get it as soon as I am near my local Jazz shop -- and I don't think I'm an old fart yet. (Getting closer though.)
Stefan, I'm curious what is the picture of the "Music Room" that has been reconfirmed, as you put it? That's not meant as a challenge, I'm simply wondering. It seems like a lot of folks have dropped off in the last few months.
cheers,
daniel
dear daniel,
if you follow my threads from time to time, you'll notice that "provocation" is a means I use sometimes to get people to read and answer the posts I leave, here. A bit of it was driving me when I yelled around, yesterday. Sorry for that. The other bit was sheer frustration. In this forum, it appears to me there are several "parallel universes" with distinct people and distinct opinions and preferences. Now, I usually don't like to be "mainstream", but I certainly don't like to be "alone", either.
With some of the opinions I stand for (both musically and technically), I stand alone. When it's about upgrading, using this or that speaker, and so forth, I don't mind, cause it's only metal and plastic, right ? When it comes down to music, my desire and expectation is to find equally thinking (and enjoying !) people, here. Which is RARELY the case. Same seems to be true for Todd and pe-zulu (and good ol' Fredrick) for their desire to talk about classical music. Or, PB, HH, mtut, ... for other topics. Geoff P and kuma. XXX and YYY. Get the pattern ? It's me and Expat (maybe Huw will jump in, later, too) like it was in other music oriented threads.
Pure personal sadness spilled out, here. Don't listen to me. As I said: I'm just a boring old fart (sorry again Geoff for borrowing this...).
Music is what this is all about.
cheers
Stefan
PS, daniel: My poor English could leave the impression that I did not enjoy your reply. Of course I did !
Posted on: 09 May 2005 by dsteady
quote:Originally posted by Expat in Oz:quote:Originally posted by dsteady:
My last Jarret purchase was "Whisper Not"and it left me a little empty, but I should probably listen to it a again.
You should - I think that Whisper Not is one of his best releases but maybe I am biased as I was at the show!
Adrian
On that advice I will. I'm entering another late-night mellow stage.
dn'l
Posted on: 09 May 2005 by dsteady
quote:Originally posted by sjust:
PS, daniel: My poor English could leave the impression that I did not enjoy your reply. Of course I did !
Stefan,
Not at all. As a relative newcomer though I am curious about your point of view. Fora are funny things -- this being the first I've been active in -- and depsite the remoteness and anonymity of their populations they are communities nonetheless. And as with all communities sometimes you need to check-in with the people around you.
daniel
Posted on: 10 May 2005 by Shauns
I only have the quintessential Koln Concert, but it's one of those albums that I play over and over again and with each listen I discover something new about it-like watching a classic movie. Just when you think that you know where he is going he takes you somewhere else. I've had the album for a few years now and I seem to find myself playing it in the same situation-Winter, open fire, Barossa shiraz, lovely woman and wait for it...tracksuit and uggboots!! All class!! 
Cheers, Shaun
Cheers, ShaunPosted on: 10 May 2005 by Squonk
quote:Originally posted by Shauns:
I only have the quintessential Koln Concert, but it's one of those albums that I play over and over again and with each listen I discover something new about it-like watching a classic movie. Just when you think that you know where he is going he takes you somewhere else. I've had the album for a few years now and I seem to find myself playing it in the same situation-Winter, open fire, Barossa shiraz, lovely woman and wait for it...tracksuit and uggboots!! All class!!
sounded good all the way up to and including "lovely woman"
Posted on: 10 May 2005 by dsteady
I listened again to disc 1 of Whisper Not -- it's not at all the album I thought it was, I must have been thinking of something else. Very good, with great energy.
Anyone else like "Bye, Bye Blackbird?"
What are some other Köln-era must-haves ?
dn'l
Anyone else like "Bye, Bye Blackbird?"
What are some other Köln-era must-haves ?
dn'l
Posted on: 10 May 2005 by Huwge
The disc arrived today, but has not yet made it to the CD player. I have to say that I will probably wait until B gets home and open a bottle of wine. Until them I am making do with Joel Xavier and Ron Carter in New York.
Stefan, this is the disc I mentioned as being entirely opposite to Marcus Miller. It's another short one (35 mins), but excellent. I think it will sound great through your Cremonas.
Huw
Stefan, this is the disc I mentioned as being entirely opposite to Marcus Miller. It's another short one (35 mins), but excellent. I think it will sound great through your Cremonas.
Huw
Posted on: 10 May 2005 by bdnyc
Daniel-
I saw the Tord Gustavsen Trio in New York a few weeks ago and he mentioned that the airline had destroyed his bassist's instrument, so perhaps Harald Johnsen was forced to use borrowed instrument(s) on their brief US tour. Certainly on the two CD's his playing is very well integrated into the trio's whole sound and approach.
I was reminded of Keith Jarrett's work at a number of points in that show, and thought to myself that this talented young man may mature into something like the wonderfully, multi-faceted Mr. J.
I have not heard the new disc yet, and I was in a CD store last night without remembering to get this welcome new solo album. Oh well, another visit is never too far off...I have really enjoyed his recent trio work, but go back to "Up For It" with the most frequency.
Good listening,
Bruce
I saw the Tord Gustavsen Trio in New York a few weeks ago and he mentioned that the airline had destroyed his bassist's instrument, so perhaps Harald Johnsen was forced to use borrowed instrument(s) on their brief US tour. Certainly on the two CD's his playing is very well integrated into the trio's whole sound and approach.
I was reminded of Keith Jarrett's work at a number of points in that show, and thought to myself that this talented young man may mature into something like the wonderfully, multi-faceted Mr. J.
I have not heard the new disc yet, and I was in a CD store last night without remembering to get this welcome new solo album. Oh well, another visit is never too far off...I have really enjoyed his recent trio work, but go back to "Up For It" with the most frequency.
Good listening,
Bruce
Posted on: 10 May 2005 by dsteady
Bruce,
If you saw him before April 27th then that would explain a lot. We just could not undrestand why the bass wasn't coming through, particularly since Tord and Jarle Vespestad were so perfectly integrated.
The show was, by and large, very enjoyable, and it seemed that the band really stretched out on a few numbers too. In fact, the diminutive Tord is a capable of some ferocious playing.
likewise,
daniel
If you saw him before April 27th then that would explain a lot. We just could not undrestand why the bass wasn't coming through, particularly since Tord and Jarle Vespestad were so perfectly integrated.
The show was, by and large, very enjoyable, and it seemed that the band really stretched out on a few numbers too. In fact, the diminutive Tord is a capable of some ferocious playing.
likewise,
daniel
Posted on: 11 May 2005 by sjust
quote:Originally posted by dsteady:
What are some other Köln-era must-haves ?
dn'l
daniel,
I prefer stuffing KJ into "appearances" and not "eras":
1. Solo / Live / Improvised: Every record is special in its own way. My favs: Köln, Paris, Scala and - Radiance
2. The American trio: All the "Standards" records in multiple variations. Most digestable - at times a bit boring. My favs "Out Of Towners" and "Up For It"
3. The European quartett - more intellectual, yet very listenable. Maybe my fav is "Belonging" (btw: from the Köln "era")
4. The rest - tbd
cheers
Stefan
Posted on: 11 May 2005 by Squonk
In my humble opinion - one of the best KJ albums is Personal Mountains, a live set with Garbarek, Christensen and Danilleson in 79, released maybe in 89.
Fabulous sound quality. Try track 4 - Innocence - to die for.
On the standards trio - Tribute is up there with the best, a real good pace and atmosphere to it.
Adrian
Fabulous sound quality. Try track 4 - Innocence - to die for.
On the standards trio - Tribute is up there with the best, a real good pace and atmosphere to it.
Adrian
Posted on: 11 May 2005 by fred simon
I'm with Adrian on Personal Mountains, Innocence being just part of its sublime achievement.
The other essential Jarrett for me is his first solo album, Facing You.
Both are "must have" in my view.
The other essential Jarrett for me is his first solo album, Facing You.
Both are "must have" in my view.
Posted on: 16 May 2005 by Russ G
Stefan,
This is my first visit to the Music Room and well worth the visit. I am a great fan of Keith Jarrett but had not heard Radiance. After reading your comments I went to the HMV site where you can listen to extracts of each track.
Needless to say I shall be off to my nearest store this weekend to acquire a copy.
My only concern is that I'm going to have to dig deep if every time I visit this forum I end up buying new cd,s.
Cheers,
RUSS
This is my first visit to the Music Room and well worth the visit. I am a great fan of Keith Jarrett but had not heard Radiance. After reading your comments I went to the HMV site where you can listen to extracts of each track.
Needless to say I shall be off to my nearest store this weekend to acquire a copy.
My only concern is that I'm going to have to dig deep if every time I visit this forum I end up buying new cd,s.
Cheers,
RUSS
Posted on: 16 May 2005 by sjust
Which is exactly what we all suffer from, Russ...
Welcome aboard !
Stefan
Welcome aboard !
Stefan
Posted on: 18 May 2005 by dsteady
Thanks for the input everybody. I hope to break free this week and drop some dead-prezzies at the local jazz shop. Jarret's output is so prodigious that one can feel somewhat adrift when buying his stuff. I love Köln, like everyone else, but am not always crazy about his Standards/American trio work. I think I'll have a go at the "more-intellectual" european quartet.
dn'l
dn'l