I first listened to it some years ago, not exactly sure when or where anymore. But I fell in love with it instantly, from the first hearing. I knew immediately that this was a record I could listen to again and again, without ever getting tired of it.

And so it happened. To this day, Keith Jarrett’s The Köln Concert remains one my favorite albums; not just as far as jazz is concerned, but from any music genre.  What I didn’t know until recently is the fascinating story behind the making of this remarkable record.

Jarrett had originally requested a Bösendorfer 290 Imperial concert grand piano for his performance at Cologne’s Opera House. However, when he arrived at the venue (tired from not sleeping well in several nights and in pain from back problems), he was in for a surprise: due to some confusion by the opera house staff a different, much smaller baby grand piano was waiting for him instead.

Although the instrument was in quite poor condition (thin in the upper registers, weak in the bass register, the pedals not working properly), Jarrett eventually decided to go on with the concert. And in spite -or rather, because- of the adverse circumstances, he delivered an inspiring performance that later went on to become the best selling piano album of all times.

“Köln was different because there was just so many negative things in a row”

Keith Jarrett

As producer Manfred Eicher, who recorded the performance, has commented on Jarrett’s magnificent playing: “Probably he played it the way it sounds now because it was not a good piano. Because he could not fall in love with the instrument, he found another way to get the most out of it.”

I think the way Jarrett managed to create something so beautiful under such unlikely circumstances can be seen as a valuable lesson – not just for pianists, jazz musicians or improvisers but for all of us. No matter how hard or unfavorable the conditions, one can always manage to make the best out of a situation. And, furthermore, even excel exactly because of the obstacles presented to him or her.

Something to ponder on next time you happen to listen to Jarrett’s inspired and seemingly effortless improvisation…