The 24-bit/192kHz FLAC format captures the full dynamic range of the recording sessions at Talent Studios in Oslo.
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.
: A 10-minute epic that cycles through multiple jazz styles, ending the album on a sublime, colorful note. Audiophile Reception (24/192 FLAC)
This was not a group built on fiery competition, but on a shared, unspoken understanding of space and texture. Jarrett provides the harmonic architecture and the melodic vision. Jan Garbarek's tenor and soprano saxophones do not merely solo; they sing over the landscape, his "crystalline tone" soaring "like a bird over a winter landscape," as one critic aptly described it. The rhythm section of Christensen and Danielsson is telepathic, providing a fluid pulse that breathes with the music rather than driving it with force. It was a rare alchemy that produced a sound both European in its folk-like purity and deeply rooted in the American jazz tradition.
2015 high-resolution remaster of Keith Jarrett’s 1978 album Keith Jarrett - My Song -2015- -FLAC 24-192-
Following this is a piece named for a coastal town in Tunisia, which balances nostalgic echoes with a more resolved, forward-looking energy, leading seamlessly into the buoyant, almost gospel-inflected folk rhythm of "Country." This latter track is a highlight for the rhythm section, featuring a wonderful, singing solo from bassist Palle Danielsson that showcases the quartet's incredible range.
This is the test track for high-frequency extension. The triangle and cymbal work on the head arrangement can sound like static on MP3 or CD. In 24-192, each strike has a metallic ping , followed by a shimmering tail that lasts 4-5 seconds. You can hear Christensen using different parts of the stick on the ride cymbal.
Recorded alongside his legendary European Quartet —featuring saxophonist Jan Garbarek, bassist Palle Danielsson, and drummer Jon Christensen—the album balances avant-garde sensibilities with stunning melodic warmth. Through the lens of a 2015-era digital remaster, audiophiles can experience the famed ECM Records "Belonging" lineup with unparalleled transparency, spatial separation, and dynamic range. 1. The Historical Context: The European Quartet
Ensure your DAC natively decodes 24-bit/192kHz PCM audio without downsampling it. The 24-bit/192kHz FLAC format captures the full dynamic
The hauntingly beautiful title track; featuring an unforgettable, lullaby-like melody led by Garbarek. Tabarka
The high-res transfer perfectly recreates the physical space of Talent Studio. The soundstage is wide and deep. Jarrett’s piano sits realistically in the center-left, Garbarek occupies a distinct space to the right, and the drums spread naturally across the back, creating a vivid "live in the room" illusion. 4. Preservation of the "ECM Sound"
The most avant-garde and energetic track on the album. The high sample rate of 192kHz is crucial here to prevent the chaotic, fast-paced drumming and screeching saxophone lines from smearing together. Every snare hit and rimshot retains its individual punch and clarity amidst the modal storm. 6. The Journey Home
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 A 16-bit system has 65,536 volume steps
Pair the system with open-back headphones or wide-soundstage studio monitors. The open architecture mirrors the open-room tracking methodology used by Jan Erik Kongshaug back in 1977.
Jarrett’s infamous humming and singing along with his playing is either a blessing or a curse. In this remaster, it is a revelation at lower levels. During the piano solo on “The Journey Home,” you can hear Jarrett’s voice a full 10 feet to the left of the piano, with the microphone pickup pattern naturally attenuating him. It feels like sitting in the control room, not on stage.
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.
The quartet achieves a rare ecstatic groove here. The benefit of 192 kHz is evident in the stereo imaging. As Jarrett rises up the keyboard, his right hand seems to move past the left speaker boundary. The bass walk is so articulate you can almost see Danielsson’s fingers moving.
This version isn’t just a reissue—it’s a :
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.