I make this statement after numerous attempts of trying to listen his over-indulgent and spineless music. Don't get me wrong, I acknowledge his pedigree (a former sideman for Miles Davis) and his obvious technical skills. But basically the guy plays limp noodle music. One of the first Keith Jarrett CDs I ever bought was the horrible Melody and You or some shit title like that. I listened it to once and then sold it to a used CD shop. (Keith Jarrett CDs get good prices at used CD shops, in case you're wondering). This summer I decided to give him another chance and acquired some of his work from the '70s. Basically, his limp noodle music is not a recent evolution, but something that has characterized his career even in the 1970s. I mean some may refer to the great Köln concert as an example of his whatever. Pure self-indulgence, right down to using the German name for what is referred to as Cologne in English.
Even the album cover is self-indulgent:
See how he's concentrating at the piano, while he feels what he's playing.The bottomline is that Keith Jarrett is basically the Kenny G. of the piano.
In contrast, lets look at a mostly forgotten jazz musician. Pharaoh Sanders, who was once a sideman for John Coltrane (and some say even influenced him heavily, although there was no doubt a reciprocal influence as well -- I've never read any similar statements about Keith Jarrett and Miles Davis):
This guy grew up in the South, and his name was actually Farrell until he met Sun Ra -- who suggested that he change his name to Pharaoh. While he definitely leans more heavily to the avante garde, his music is till quite listenable. His work in the early '70s clearly is his best. In fact, not only is his music better than the stuff Keith Jarrett calls music, but he's also got more style and he's got the hardcore motherfucker look going on.
The Pharaoh is no Kenny G.
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