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Yes, the recording of the concert in Köln took place under extremely adverse circumstances. Keith Jarrett had hardly slept the night before because he had traveled from a concert in Switzerland with his producer Manfred Eicher in the rickety R4 since the early morning. The Bösendorfer 290 Imperial concert grand that was actually chosen had been mixed up, there was a Bösendorfer baby grand that was only used for rehearsals, was out of tune and on which the pedals and some keys were jammed. His pre-concert meal arrived fifteen minutes before returning to the opera house. Only at the express request of local promoter Vera Brandes was Jarrett willing to perform. Although Brandes was able to acquire a leading grand piano from a functioning music school at the last minute, this would have suffered badly due to the necessary transport at low temperatures in the rain across the Neumarkt, so that the baby grand piano was finally used. The team had already wanted to cancel the live recording when the sound engineers finally decided to record the concert in Köln, which was sold out with around 1,400 listeners, for internal purposes: Keith Jarrett adapted the musical events to the instrument and largely limited himself to the middle and low pitches, preferring repeated patterns…docbop wrote:Koln the piano Keith hated and was going to cancel, but was talked into going ahead and doing the gig. I always laugh when I think about that how the gig he wasn't happy with became the album that got him the most appeal from the masses.