Keith Jarrett - My Song -2015- -flac 24-192-

Keith Jarrett — My Song (24‑bit/192kHz FLAC edition) — Review

Overview My Song is one of Keith Jarrett’s most lyrical trio records, originally issued on ECM in 1978 with Jan Garbarek (tenor/soprano sax), Palle Danielsson (double bass) and Jon Christensen (drums). This high‑resolution 24/192 FLAC release (2015 remaster/reissue) brings new clarity and presence to an already intimate, pastoral set of Jarrett originals.

Music and Performance

  • Compositions: Melodic, songlike pieces — “Country,” “My Song,” “The Journey Home,” “Silence,” among others — that prioritize form, space and strong, memorable themes rather than extended harmonic gymnastics. Jarrett’s gift for tuneful motifs and economical improvisation is front and center.
  • Interaction: The trio plays with remarkable telepathy. Garbarek’s breathy, folk‑inflected lines often double or answer Jarrett’s piano, creating a chamber‑jazz feel. Danielsson’s warm, melodic bass anchors each tune; Christensen’s subtle, coloristic drumming emphasizes texture over timekeeping.
  • Mood: The record is pastoral, reflective and restrained — mournful at times, buoyant at others — with an underlying Nordic melancholy courtesy of Garbarek and ECM producer Manfred Eicher’s aesthetic.

Sound and High‑Resolution Transfer

  • Clarity: The 24‑bit/192kHz transfer noticeably widens the soundstage. Piano tone is more detailed — percussive attack, string resonance and pedal bloom are clearer without sounding exaggerated.
  • Separation: Instruments sit more distinctively in the mix. Garbarek’s reeds float above the piano; bass detail (finger attack, bow noise) is more audible; cymbal shimmer and brush work have finer gradation.
  • Dynamic nuance: Greater low‑level resolution reveals room ambience and microdynamics, enhancing the trio’s conversational interplay. However, the album’s inherently gentle dynamics mean improvements are subtle and tastefully restrained.
  • Authenticity: The remaster keeps the original’s warm midrange and ECM’s natural, slightly reverberant ambience. No obvious EQ heavy‑handedness — the result is fidelity that feels faithful rather than glossy.

Standout Tracks

  • “My Song”: The title track encapsulates Jarrett’s melodic strength — a memorable theme with spacious, lyrical solos and sympathetic accompaniment.
  • “The Journey Home”: A slow, unfolding piece that showcases trio empathy and Garbarek’s plaintive voice.
  • “Country”: Brighter, rhythmically buoyant — highlights Jarrett’s rhythmic clarity and the trio’s lighter touch.

Who This Is For

  • Fans of melodic, ECM‑style chamber jazz and Jarrett’s trio work will appreciate the expression and nuance preserved here.
  • Audiophiles who value microdetail and natural room ambience will find the 24/192 transfer rewarding.
  • Listeners seeking high‑energy, virtuosic fireworks may find the album intentionally restrained; its strengths lie in lyricism and interplay rather than technical display.

Verdict My Song remains a quietly beautiful, deeply musical album in Keith Jarrett’s discography. The 24‑bit/192kHz FLAC edition is a tasteful, faithful transfer that enhances tonal clarity and spatial detail without compromising the record’s original warmth and intimacy. Recommended for those who prize melody, atmosphere and the subtleties of trio interplay — and for audiophiles who want a higher‑resolution window into Jarrett’s contemplative side. Keith Jarrett - My Song -2015- -FLAC 24-192-

The 2015 high-resolution remaster of Keith Jarrett’s (FLAC 24-bit/192kHz) is widely regarded by audiophiles as a definitive digital version of this 1978 jazz masterpiece. This release preserves the legendary "ECM sound" originally captured at Talent Studio in Oslo by engineer Jan Erik Kongshaug, known for his "crystalline" and "airy" recording style. musicophilesblog.com Performance and Composition The album features Jarrett’s "European Quartet"

—a powerhouse ensemble consisting of Jan Garbarek (saxophones), Palle Danielsson (bass), and Jon Christensen (drums). The Listeners' Club The Title Track "My Song"

: A hauntingly simple, folk-inflected melody that has become a jazz standard. Critics highlight Garbarek’s "soulful, restrained" performance as emotionally wrenching and transcendent. Musical Range

: While tracks like "Country" lean into a joyous, gospel-inspired lyricism, the album also veers into "frenetic" hard bop and free jazz territory with "Mandala," which features Jarrett plucking the piano strings directly.

: The quartet is praised for a "holistic transcendence," where individual egos are set aside for the benefit of the composition, particularly on the 10-minute closing epic, "The Journey Home". Between Sound and Space: ECM Records and Beyond 2015 Remaster Quality (24-bit/192kHz)

: Reviewers note that the 2015 hi-res remaster is of "astounding quality," making the nearly 50-year-old recording sound modern and fresh. Soundstage Keith Jarrett — My Song (24‑bit/192kHz FLAC edition)

: The hi-res format allows listeners to "hear into" the recording, providing a sense of being in the studio with the band. Comparison

: While some purists still prefer the original vinyl for its "tubey magical midrange," the 24/192 FLAC is considered the best digital option for those wanting to avoid the "lifeless" quality often found in standard CD reissues. musicophilesblog.com Keith Jarrett - My Song - CD | JazzMessengers

The Sublime Clarity of Keith Jarrett’s "My Song" (Hi-Res FLAC 24-192) For audiophiles and jazz enthusiasts alike, the 2015 high-resolution reissue of Keith Jarrett’s 1978 masterpiece, , represents a pinnacle in digital restoration. Released in FLAC 24-bit/192kHz

format, this version strips away the digital veils of earlier CD pressings, offering a transparency that brings you startlingly close to the original 1977 sessions at Talent Studio in Oslo. The Lineup: The "European Quartet"

This album remains the definitive statement of Jarrett's "European Quartet," a group characterized by a lyrical, airy, and "Nordic" sound that contrasts sharply with his more muscular American ensembles: Keith Jarrett : Piano, Percussion Jan Garbarek : Tenor and Soprano Saxophones Palle Danielsson : Double-Bass Jon Christensen Why the 24/192 FLAC Matters

While original ECM vinyl pressings are legendary for their "tubey magical midrange," they often suffer from surface noise or transient smear over time. The 24/192 hi-res files Micro-Detail Sound and High‑Resolution Transfer

: You can hear the physical "pluck" of Danielsson’s bass strings and the subtle breath control of Garbarek’s saxophone. Soundstage

: The "Blackest" backgrounds allow the instruments to occupy a three-dimensional space, extending well beyond the speakers. Dynamic Range

: From the delicate, mournful title track to the "chaotic madness" of "Mandala," the high bit-rate handles the album's extreme shifts in intensity without clipping or compression. Key Tracks to Revisit Peachtree Audio amp500 26-Mar-2020 —

With such a reservoir of power, the amp500 can bring out the punch in the mid to upper registers as well. The pluck of Al DiMeola' (((Audio Pursuit))) TONEAudio MAGAZINE The Concierge of High End Audio 28-Aug-2010 —

Key Points:

  • Artist: Keith Jarrett
  • Piece/Album: My Song
  • Year of Release: 2015
  • Format: FLAC
  • Resolution: 24-bit/192kHz

Is 24-192 Worth It for This Album?

The eternal debate: Can you hear the difference? On a smartphone with earbuds? No. On a quality DAC (Digital-to-Analog Converter) with a quiet power supply and revealing speakers or planar magnetic headphones? Absolutely.

My Song is an album of extreme microdynamics. The difference between ppp (pianississimo) and f (forte) is the entire emotional arc of the music. A 16-bit system has 65,536 volume steps. A 24-bit system has 16,777,216 steps. When Jarrett plays a note so soft it is barely a whisper of felt on wound strings, the 24-bit depth preserves the shape of that whisper. The 16-bit version might render it as digital noise shaping artifacts; the 24-192 renders it as music.

The Debate: Is 24-192 Overkill for "My Song"?

Audiophile forums often argue that 96 kHz is the "sweet spot" and that 192 kHz can introduce ultrasonic noise. However, for acoustic jazz like this, the consensus is that 192 kHz captures the room tone of Talent Studio better than any other digital format. The recording engineer, Jan Erik Kongshaug, famously miked the piano and drums with minimal separation, relying on bleed for cohesion. In 24-192, that bleed—the sound of Christensen’s drums leaking into Jarrett’s piano mics—becomes musical rather than muddy. It tells you how they were positioned in the room.