Keith Jarrett - My Song -2015- -flac 24-192-
This track highlights the rhythmic interplay between Danielsson’s double bass and Jarrett’s left hand.
Keith Jarrett’s My Song is essential listening for any serious music lover. In its iteration, it transcends standard digital audio. It offers an emotional, intimate, and highly detailed window into a historic 1978 studio session, making it a mandatory addition to any audiophile's digital library.
The core philosophy of the "Re:solutions" series was absolute fidelity. The audio was cut and mastered , bypassing any previous digital conversions. This direct-to-digital transfer was then used to create all three formats. For the first time, listeners could access a digital version of the album that was as close as technically possible to the original master tape, free from the compromises of CD encoding.
While Keith Jarrett was concurrently leading his "American Quartet" (featuring Dewey Redman and Charlie Haden), he formed a contrasting ensemble with three Scandinavian masters that would become known as the European Quartet: Piano and percussion. Jan Garbarek : Tenor and soprano saxophones. Palle Danielsson : Double bass. Jon Christensen: Drums.
Ensure your DAC natively decodes 24-bit/192kHz PCM audio without downsampling it. Keith Jarrett - My Song -2015- -FLAC 24-192-
Sampling the audio 192,000 times per second captures the exact waveform of the instruments. It restores the "air" around Garbarek's sax and eliminates the digital glare that often plagues older jazz trumpet and saxophone recordings.
The Ultimate High-Resolution Experience: Keith Jarrett’s My Song in 24-bit/192kHz FLAC
Melodic, lyrical, and introspective jazz that bridges Jarrett’s solo piano work with a quartet setting. Audio Fidelity: The 24/192 Experience The 2015 high-res remaster is noted for its astounding quality
Critics and fans alike consider My Song the peak of the Jarrett-Garbarek collaborations. It achieves a "state of grace" that transcends genre, making it a must-have for both seasoned audiophiles and those new to Jarrett’s expansive body of work. It offers an emotional, intimate, and highly detailed
High-fidelity bookshelf or floor-standing speakers paired with a clean amplifier will reveal the deep, acoustic low-end of Danielsson's double bass. Final Verdict
: Recorded in November 1977, this album is often described as more lyrical and "song-oriented" than Jarrett's usual improvisational works. It blends folk, gospel, and pop sensibilities with traditional jazz. Key Tracks :
Keith Jarrett’s 1978 masterpiece My Song remains a towering achievement in acoustic jazz. Recorded with his legendary European Quartet—featuring saxophonist Jan Garbarek, bassist Palle Danielsson, and drummer Jon Christensen—the album balances avant-garde sensibilities with deeply accessible melodies. While original vinyl pressings and early CD reissues have long been parsed by audiophiles, the 2015 high-resolution remaster, delivered in 24-bit/192kHz FLAC format, offers a definitive look into the acoustics of Talent Studio in Oslo.
The title track is a masterclass in gospel-infused lyricism and one of Jarrett's most enduring melodies. This direct-to-digital transfer was then used to create
The album runs for approximately 48 minutes across six distinctive tracks:
The title track, "My Song," is arguably one of the most beautiful melodies Jarrett ever composed, featuring Garbarek’s hauntingly lyrical tenor saxophone playing. Other highlights like "Country" and "Mandala" demonstrate the group’s ability to move from pastoral serenity to, in the case of "Mandala," hard-bop territory, showcasing a surprisingly aggressive side of the band. Why the 2015 FLAC 24-192 Remaster Matters
Before discussing the digital file, one must understand the source. My Song was recorded at Talent Studio in Oslo on October 17, 1977. Legendary ECM founder Manfred Eicher produced the session, with engineer Jan Erik Kongshaug at the boards. The studio was unique: a converted film soundstage with a wooden floor and high, vaulted ceilings. Eicher and Kongshaug famously eschewed separation booths; the quartet played live in a single room, relying on leakage and natural reverb.
