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Speaker 1: Pushkin. Hey, this is Justin Richmond, host of Broken Record.

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Speaker 1: We're going on a short hiatus for the holidays, but

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Speaker 1: we'll be backed January twenty eighth, and guess what we're

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Speaker 1: going weekly in twenty twenty. Super excited and trust me

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Speaker 1: when I say we have some great shows coming up

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Speaker 1: for you guys. But while you're waiting, we wanted to

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Speaker 1: give you a chance to check out another great show

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Speaker 1: from Pushkin Industries. It's called Cautionary Tales and it's hosted

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Speaker 1: by Tim Harford, who hosts some great shows for the BBC.

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Speaker 1: An episode you're about to hear, Tim explores a pivotal

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Speaker 1: performance by one of the great jazz improvisers of all time,

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Speaker 1: pianist Keith Jared. His solo live shows are known to

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Speaker 1: be among the best concert performances. Ever, none of them

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Speaker 1: are ever the same. His shows are so special that

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Speaker 1: I remember spending an entire paycheck when I was only

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Speaker 1: sixteen to catch him in downtown LA and it was

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Speaker 1: worth every last cent. But in order for him to

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Speaker 1: walk out on stage and improvise, he needs conditions to

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Speaker 1: be perfect. He's a notorious control freak who demands complete

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Speaker 1: quiet from his audiences. No talking coffee and walking to

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Speaker 1: her from the bathroom, just complete attention to the music. Meanwhile,

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Speaker 1: Jared's most famous recording comes from a show where nothing

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Speaker 1: was right. So why was this concert that should have

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Speaker 1: been terrible one of the best of his career. That's

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Speaker 1: tim starting point, but it's question for an answer. Leads

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Speaker 1: us to David Bowe and producer Brian Eno. You'll want

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Speaker 1: to hear this episode, believe me. Here's Tim Harford. As

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Speaker 1: the night draws in and the fire blazes on the hearth,

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Speaker 1: we warn the children by telling them stories. The juniper

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Speaker 1: tree teaches them, Oh, I don't know what it's just horrendous,

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Speaker 1: don't google it. But my stories are for the education

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Speaker 1: of the grown ups, and my stories are all true.

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Speaker 1: I'm Tim Harford. Gather close and listen to my cautionary tale.

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Speaker 1: Late in January nineteen seventy five, a German teenager named

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Speaker 1: Vera Brandes walked out onto the stage of the Cologne

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Speaker 1: Opera House. The auditorium was empty, lit only by the

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Speaker 1: dim green glow of the emergency exit sign. This was

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Speaker 1: the most exciting day of Vera's life. Vera loved jazz

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Speaker 1: and was frustrated that there just wasn't enough good jazz

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Speaker 1: in Cologne, so at the age of sixteen, she had

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Speaker 1: started to arrange concerts herself. Tonight would be the fifth

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Speaker 1: and by far the biggest. Vera Brandes had persuaded the

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Speaker 1: Cologne Opera House to host a late night concert of

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Speaker 1: jazz from the American pianist Keith Jarrett. A remarkable venue

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Speaker 1: for a remarkable twenty nine year old musician. Jarrett had

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Speaker 1: already played with greats such as Art Blakey and Miles Davis,

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Speaker 1: but now he was on his own. The vast auditorium

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Speaker 1: was sold out. Fourteen hundred people were coming, easily the

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Speaker 1: largest audience for Jarrett's tour of improvised piano performances. In

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Speaker 1: just a few hours, Keith Jarrett would walk out alone

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Speaker 1: on that stage. He'd sit down at the piano, and

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Speaker 1: without rehearsal or sheet music, he'd begin to play. But

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Speaker 1: right now Vera was introducing Keith to the piano in question,

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Speaker 1: and it wasn't going well. Jarrett looked at the instrument

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Speaker 1: a little warily, played a few notes, walked around it,

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Speaker 1: tried a few more. His producer, Manfred Eicher, joined in.

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Speaker 1: Neither of them spoke to Vera instead. They were huddled together.

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Speaker 1: Then Manfred Eicher came over to Vera. If you don't

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Speaker 1: get another piano, Keith can't play tonight. There'd been a mistake.

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Speaker 1: Jarrett was and is an exacting musician. He likes things

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Speaker 1: to be perfect, absolutely the way he wants them, and

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Speaker 1: he'd requested a specific piano, a Bersendorfer Imperial. The opera

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Speaker 1: house had told Vera Brands they had just the thing,

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Speaker 1: but somehow the piano on stage was nothing like what

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Speaker 1: had been promised. As Vera Brands remembered, they found this

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Speaker 1: tiny little Burstendorfer that was completely out of tune. The

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Speaker 1: upper and the lower octave was wrecked, the black notes

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Speaker 1: in the middle didn't work, the pedal stuck. It was unplayable,

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Speaker 1: absolutely unplayable, and quite understandably, Jarrett didn't want to play it.

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Speaker 1: And when it became clear there was no way to

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Speaker 1: get at a replacement piano on stage. When it became

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Speaker 1: clear that it was the unplayable piano or nothing, Keith

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Speaker 1: Jarrett opted for nothing. He walked out into the rain,

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Speaker 1: leaving a bedraggled Vera Brands trailing behind him, begging him

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Speaker 1: not to cancel when fourteen hundred people showed up for

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Speaker 1: their late night concert. Vera Brandas was going to find

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Speaker 1: herself facing a riot. You're listening to another cautionary tale.

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Speaker 1: About the same time as Keith Jarrett's encounter with the

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Speaker 1: Unplayable Piano on the side of Germany, a very different

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Speaker 1: musician was scrambling over his own musical obstacle. Course David Bowie,

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Speaker 1: the unearthly ambisexual rock icon, had moved to Berlin. Bowie

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Speaker 1: had had a grim, alienating period living in Los Angeles.

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Speaker 1: He was beset by legal troubles, his marriage alternated between

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Speaker 1: indifference and contempt, and he was taking far too many

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Speaker 1: hard drugs. It was a dangerous period for me, Bowie reflected.

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Speaker 1: But Bowie had a very different attitude to his music

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Speaker 1: than Jarrett. While Jarrett was a purist, Bowie actually enjoyed

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Speaker 1: self imposed obstacles. Bowie believed that accidents were to be treasured,

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Speaker 1: even planned, rather than avoided. That's why he asked Brian

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Speaker 1: Eno to join him and his producer Tony Visconti in Berlin.

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Speaker 1: They'd meet regularly in Hunsa Studio too, the Big Hall

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Speaker 1: by the Wall, as Bowie called it, It was a

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Speaker 1: beautiful rca flawed concert hall popular for recording chamber music,

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Speaker 1: and a few hundred feet away from the shadow of

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Speaker 1: the burning wall. Eno took to showing up at the

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Speaker 1: Hansa studio with a soft black box containing a selection

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Speaker 1: of curious cards he called oblique strategies. They're quite simple,

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Speaker 1: these cards, small black text on a white background, curved corners.

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Speaker 1: They're about the size of playing cards, although there are

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Speaker 1: more than a hundred of them, making a thick deck

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Speaker 1: to be shuffled and consulted. Each card has a different instruction,

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Speaker 1: and you never know which one you're going to get.

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Speaker 1: Eno once told me, you have to pick one if

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Speaker 1: you don't like it. Tough. Whenever the studio sessions were

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Speaker 1: running aground, Eno would draw a card at random and

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Speaker 1: relay its strange orders. Be the first not to do

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Speaker 1: what has never not been done before. Look at the

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Speaker 1: order in which you do things. Emphasize the floors, change

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Speaker 1: instrument roles. Sure enough, during the recording of David Bowie's

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Speaker 1: Lodger album, Carlos Alamar, one of the world's greatest guitarists,

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Speaker 1: was told to play the drums instead. Another guitarist, Adrian Bellu,

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Speaker 1: was asked to improvise a solo in response to a

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Speaker 1: recording that would eventually become the single boys Keep Swinging. Sorry,

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Speaker 1: don't worry about the key, just play. Belieu described the experience.

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Speaker 1: It was like a like a freight train coming through

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Speaker 1: my mind. It's an amazing solo though, and that astonishing

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Speaker 1: wailing guitar at the beginning of Heroes, that's Robert Fripp.

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Speaker 1: Fripp was just playing around with guitar feedback, but when

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Speaker 1: Visconti patched together the random noises, the effect was beautiful.

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Speaker 1: The poet Simon Armitage describes the cards as if you're

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Speaker 1: asking the blood in your brain to flow in another direction.

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Speaker 1: That doesn't sound fun. Yet the strange, chaotic working process

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Speaker 1: produced some of the decade's most crittically acclaimed albums, Low

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Speaker 1: Heroes and Lodger. You can't argue with the results. I

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Speaker 1: sought out Brian Eno to discuss this strange approach of

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Speaker 1: deliberately adding obstacles. Eno is to me one of the

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Speaker 1: most interesting musicians alive. He began his musical career in

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Speaker 1: the nineteen seventies with Roxy Music, where he'd create strange

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Speaker 1: sound effects and play synthesizer with a giant plastic knife

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Speaker 1: and fork. He created Music for Airports, a simple, beautiful

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Speaker 1: landmark in ambient music, My Life in the Bush of Ghosts,

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Speaker 1: an influential, sample rich collaboration with David Byrne, and Another

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Speaker 1: Green World, the record that Prince once named as his

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Speaker 1: biggest inspiration. Eno has collaborated with Talking Heads, You Too,

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Speaker 1: Twiler Tharpe, Cold Play, Laurie Anderson, Gavin Bryars, Paul Simon,

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Speaker 1: and the Cult director David Lynch. When the music magazine

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Speaker 1: Pitchfork listed its top hundred albums of the nineteen seventies,

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Speaker 1: Brian Eno had a hand in more than a quarter

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Speaker 1: of them. And of course there's his remarkable collaboration with

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Speaker 1: David Bowie. But I wanted to talk to Brian not

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Speaker 1: just because he's produced beautiful music with remarkable people using

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Speaker 1: very strange methods, but also because Brian Eno is, like me,

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Speaker 1: a nerd. He thinks hard about why obstacles are so

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Speaker 1: often helpful. Listen on and I'll tell you what I learned.

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Speaker 1: You know, that feeling of being a tourist in a

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Speaker 1: totally foreign land, how rich all the tiny details are,

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Speaker 1: how densely layered the memories you can look back on

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Speaker 1: a day and marvel at just how much you managed

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Speaker 1: to pack in, whereas a day of your normal routines

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Speaker 1: can be hard to remember at all. One of the

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Speaker 1: things that Brian Eno is trying to achieve with his

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Speaker 1: Strange Cards is that same sense of attention of being alert.

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Speaker 1: The enemy of creative work is boredom, actually, and the

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Speaker 1: friend is alertness. Now, I think what makes you alert

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Speaker 1: is to be faced with a situation that is beyond

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Speaker 1: your control, so you have to be watching it very

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Speaker 1: carefully to see how it unfolds, to be able to

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Speaker 1: stay on top of it. That kind of alertness is exciting.

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Speaker 1: There's nothing like an unfamiliar problem to make you start focusing.

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Speaker 1: If things feel out of your control, maybe even a

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Speaker 1: little dangerous, that gets the adrenaline flowing, and, in the

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Speaker 1: right circumstances, the creative juices too. This attention grabbing effect

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Speaker 1: applies whether we're talking about trying to play a strange instrument,

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Speaker 1: navigate a strange place, or work together with a strange person.

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Speaker 1: And while it sounds dramatic, it can work its magic

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Speaker 1: at a subliminal level. It can be something as subtle

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Speaker 1: as whether the words we're reading on a page look

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Speaker 1: familiar or odd. Consider a study by the psychologists Connor Diamond, Yeoman,

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Speaker 1: Daniel Oppenheimer, and Erica Vaughan. They teamed up with high

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Speaker 1: school teachers, getting them to reformat the teaching handouts they used.

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Speaker 1: Half their classes, chosen at random, got the original materials

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Speaker 1: in standard fonts such as Times New Roman. The other

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Speaker 1: half got the same documents reformatted into one of three

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Speaker 1: challenging fonts, the dense text of Haddensfeiler, the cursive flourishes

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Speaker 1: of Monotype Corcever, or the zesty bounce of comic sans italicized.

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Speaker 1: These fonts are, let's be honest, distracting and hard to read.

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Speaker 1: But the ugly fonts didn't hamper the students at all.

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Speaker 1: Students who had been taught using them ended up scoring

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Speaker 1: higher on their exams. We don't know exactly why, but

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Speaker 1: it seems that the strange fonts prompted them to pay attention,

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Speaker 1: to slow down, and to think about what they were reading.

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Speaker 1: If such obstacles make us focus and think harder, they

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Speaker 1: may end up not being obstacles at all, but secret weapons.

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Speaker 1: There's a second reason that the oblique strategies may have

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Speaker 1: helped David Bowie. They pushed him to try something fresh.

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Speaker 1: Brianino described to me the tendency of highly skilled musicians

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Speaker 1: to end up exploring a narrow territory because it's the

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Speaker 1: only place they feel completely comfortable. You get more and

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Speaker 1: more competent at dealing with that place, and your cliches

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Speaker 1: become increasingly clichde. But when you're forced to start from

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Speaker 1: somewhere new, the cliches can be replaced with moments of magic.

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Speaker 1: This effect is well understood far outside the realm of music.

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Speaker 1: Computer scientists use algorithms to look for solutions to complex problems,

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Speaker 1: and those algorithms often use the tactic of stepping back

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Speaker 1: and adding some randomness part way through their search. What

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Speaker 1: sort of complex problems do I have in mind? There

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Speaker 1: are plenty planning efficient roots for a fleet of parcel

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Speaker 1: delivery trucks, figuring out the best layout for a silicon chip.

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Speaker 1: Such problems have so many possible solutions that it's impossible

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Speaker 1: even for a computer to check them all. So computer

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Speaker 1: scientists have developed algorithms that try to find a solution

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Speaker 1: that may not be perfect, but it is good enough

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Speaker 1: you'd be surprised at how many of these algorithms add

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Speaker 1: random shocks and remixes. Those shocks are there to prevent

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Speaker 1: the algorithm getting stuck on a bad solution. In the jargon,

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Speaker 1: that's called a local optimum, but you or I would

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Speaker 1: simply call it a dead end. The random shocks offer

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Speaker 1: a way of backing out of the dead end and

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Speaker 1: trying something else. This might seem a long way from

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Speaker 1: our everyday concerns. We're not musical geniuses and we're not

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Speaker 1: computer algorithms, but the same logic is at play in

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Speaker 1: the most humdrum circumstances, such as our daily commute. For example,

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Speaker 1: in my own long standing commute across the London Underground,

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Speaker 1: I know exactly where on the platform I should stand

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Speaker 1: when I get on the first Tube train, to ensure

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Speaker 1: that after riding nine stars, including a change of lines,

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Speaker 1: I'm in the perfect position to be first on the

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Speaker 1: escalator out of London Bridge station and thus at the

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Speaker 1: front of the line for coffee the Monmouth coffeehouse near

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Speaker 1: the tube exit. Find differences in where I stand on

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Speaker 1: a train platform on one side of the city determine

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Speaker 1: how quickly I get my coffee. Half an hour later

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Speaker 1: on the other side. Yes, I promise myself I'd never

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Speaker 1: become that person. Happened anyway, And however you commute, you

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Speaker 1: likely have your own little shortcuts and time saving habits,

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Speaker 1: assuming that is those habits really do save you time,

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Speaker 1: because according to the logic I've been outlining, if you

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Speaker 1: commute being forced to change your plans, they actually help

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Speaker 1: you in the long run. It's the obstacle in your

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Speaker 1: path that forces you to find a better path. But

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Speaker 1: in what circumstances might the London underground possibly be disrupted?

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Speaker 1: I hear you ask well. In February twenty fourteen, two

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Speaker 1: trade unions representing workers on the subway launched a forty

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Speaker 1: eight hour strike which closed well over half the stations

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Speaker 1: on the system. The first day of the strike was wet,

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Speaker 1: as well as being cold and dark, which will have

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Speaker 1: discouraged people from simply walking or getting on a bike.

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Speaker 1: The trains and buses that day were rammed full of

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Speaker 1: grumpy commuters trying to figure out how to get around

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Speaker 1: the disruption. After the strike, the economists Ferdinand roush Seawan

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Speaker 1: Larcom and Tim Williams looked at data from London's electronic

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Speaker 1: fair card system those fair cards work on the subway,

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Speaker 1: the buses, and the overground trains too. Rousch and his

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Speaker 1: colleagues identified people who had to change from their regular

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Speaker 1: route during the strike. Most changed back again when the

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Speaker 1: strike was over, of course, but many did not. They

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Speaker 1: realized that they'd been getting their own commute wrong all

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Speaker 1: their lives, and all it took to prod them to

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Speaker 1: finding a better way was two days of disruption. So

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Speaker 1: there are two reasons why an obstacle might actually help

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Speaker 1: us solve a problem. First, the ugly font effect. The strange, unfamiliar,

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Speaker 1: or even threatening situation grabs your attention and holds it.

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Speaker 1: You're not checking your phone, you're not daydreaming, you can't

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Speaker 1: afford to miss a second. And then there's the tube

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Speaker 1: strike effect, the way a random disruption forces you to

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Speaker 1: try something totally new, whether by forcing us to pay

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Speaker 1: attention or by prodding us to try something different. These

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Speaker 1: obstacles can actually help us find better solutions to the

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Speaker 1: problems we face. But this is still a cautionary tale

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Speaker 1: because it's a story of danger. The danger is that

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Speaker 1: we shun these obstacles, avoid difficulties, flee from problems, when

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Speaker 1: in fact we might flourish from facing them head on.

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Speaker 1: Keith Jarrett, after all, didn't celebrate the appearance of a

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Speaker 1: bad piano on stage at his largest ever concert, rubbing

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Speaker 1: his hands in glee at the opportunity to have his

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Speaker 1: creativity supercharged by the challenge. Of course he didn't. He

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Speaker 1: walked away. Who wouldn't when faced with the unplayable piano.

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Speaker 1: We resist. We resist all sorts of obstacles. But the

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Speaker 1: most obvious example of this resistance comes when the obstacle

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Speaker 1: is a strange or unfamiliar person. There's a large body

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Speaker 1: of research that suggests a diverse group of people I

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Speaker 1: mean people of different ages, genders, nationalities, professions, and political views.

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Speaker 1: That diverse group of people is more likely to find

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Speaker 1: solutions or make better judgments than a group full of lookalikes,

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Speaker 1: everyone echoing everyone else. When pulling together a team, our

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Speaker 1: instinct is to go for quality, the best people we

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Speaker 1: can find, But perhaps instead we should be going for variety.

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Speaker 1: One analogy is that different perspectives, skills, and experiences are

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Speaker 1: like different tools and the toolbox. A well stocked toolbox

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Speaker 1: is more useful than a case full of hammers, even

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Speaker 1: if they're really good hammers. But while we should be

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Speaker 1: looking for a diverse group, we tend to gravitate to

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Speaker 1: the familiar friends rather than strangers, people who look and

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Speaker 1: sound like us, who reflect our own views and make

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Speaker 1: us feel comfortable. We are hammers looking to get cozy

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Speaker 1: with other hammers, and we view wrenches and screwdrivers and

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Speaker 1: saws as awkward misfits. There's an elegant experiment that underlines

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Speaker 1: this point, conducted by the psychologists Katherine Phillips, Katie Lillianquist,

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Speaker 1: and Margaret Neil. They gave murder mystery problems to students.

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Speaker 1: These problems consisted of dossiers of information with alibis and evidence,

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Speaker 1: witness statements, and a choice of three possible suspects, so

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Speaker 1: who committed the crime. The researchers divided the groups into

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Speaker 1: two sets at random. In one set, the murder mysteries

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Speaker 1: would be solved by four people who knew each other

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Speaker 1: four friends. In the other set, the dossiers would be

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Speaker 1: given to three friends and one stranger for maximum awkwardness.

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Speaker 1: You can see where I'm going with this. Obviously, I'm

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Speaker 1: going to say that the groups with the stranger solved

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Speaker 1: the problem more effectively, which they did, but the scale

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Speaker 1: of the improvement may surprise you. The groups of friends

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Speaker 1: did better than a random guess between the three options,

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Speaker 1: but the groups with a stranger did much better yet,

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Speaker 1: with a success rate of seventy five percent. In fact,

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Speaker 1: the groups with the stranger were as far ahead of

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Speaker 1: the groups of friends as the groups of friends were

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Speaker 1: ahead of pure random guests work. But what's really interesting

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Speaker 1: is not just that the groups with the stranger made

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Speaker 1: smarter decisions than how they felt about it. When the

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Speaker 1: scientists interviewed the groups of four friends, they had a

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Speaker 1: nice time, and they also thought they'd done a good job.

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Speaker 1: They were complaisant. When they spoke to the three friends

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Speaker 1: and the stranger, they hadn't enjoyed themselves, and they were

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Speaker 1: fun of doubts about whether they'd chosen the guilty man.

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Speaker 1: I think that really exemplifies the challenge. Here's what seems

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Speaker 1: like an obstacle, this awkward stranger sitting in the group

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Speaker 1: and spoiling everyone's fun. But the obstacle is actually a

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Speaker 1: secret weapon. The stranger dramatically improves the performance of the group,

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Speaker 1: yet the people in the group don't realize it. The

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Speaker 1: same thing happened with Brian Eno and his curious cards.

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Speaker 1: The musicians hated them. That can't have been a surprise

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Speaker 1: to Eno. On that earlier Eno album that Prince loved

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Speaker 1: so much, Another Green World, Eno asked Phil Collins, the

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Speaker 1: Superstar drama from Genesis, to play the instructions from the cards.

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Speaker 1: So infuriated Collins he was reduced to hurling beer cans

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Speaker 1: across the studio in frustration. Faced with one piece of

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Speaker 1: card inspired foolishness, the guitarist Carlos Alomar told, you know,

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Speaker 1: this experiment is stool. The violinist Simon House commented the

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Speaker 1: sessions often sounded terrible. Carlos did have a problem simply

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Speaker 1: because he's very gifted and professional. He can't bring himself

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Speaker 1: to play stuff that sounds like crap. How do we

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Speaker 1: persuade ourselves to engage with broken tools, from possible deadlines

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Speaker 1: or awkward people when really all we want to do

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Speaker 1: is hurled beer cans. Back in dark, rainy Cologne in

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Speaker 1: nineteen seventy five, young Vera Brands was in big trouble,

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Speaker 1: an opera house full of paying customers, an unplayable piano,

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Speaker 1: and an understandably reluctant Keith Jarrett. So she did the

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Speaker 1: only thing she could. She ran after Jarrett found him

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Speaker 1: waiting in his car, flung open the door and begged

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Speaker 1: him not to cancel. And Keith Jarrett, looking out at

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Speaker 1: this rain drenched teenage girl, took pity on her. Never forget,

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Speaker 1: just for you, Keith Jarrett would play after all. While

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Speaker 1: a tuner worked to straighten out some of the kinks

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Speaker 1: in the unplayable piano, Vera Brands took Jarrett and Manfred

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Speaker 1: Ikea to an Italian restaurant to get some food before

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Speaker 1: the show. Jarrett barely had time to bolt down a

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Speaker 1: few mouthfuls of pastor before rushing back to the opera

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Speaker 1: House to face the piano. The instrument was now in tune,

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Speaker 1: but still had some silent keys, a malfunctioning sustain pedal,

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Speaker 1: and was harsh and tinny in the upper register, but,

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Speaker 1: of course, not being a full sized concert grand, it

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Speaker 1: was simply too quiet. If played in the conventional style,

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Speaker 1: it would never fill the vast auditorium with music. But

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Speaker 1: it was too late to back out. Now utterly alone

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Speaker 1: in front of fourteen hundred people, Jarrett walked back out

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Speaker 1: onto the stage of the Opera House. He sat down

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Speaker 1: at the unplayable piano and began. The minute he played

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Speaker 1: the first note, everybody knew this was magic. That's something

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Speaker 1: I will never forget. The first tone and everybody was

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Speaker 1: totally mesmerized. Jarrett was avoiding those tinny upper registers. He

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Speaker 1: was sticking to the middle tones of the keyboard, which

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Speaker 1: gave the piece a soothing ambient quality. His left hand

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Speaker 1: produced rumbling, repetitive bass riffs as a way of covering

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Speaker 1: up the piano's lack of resonance. The music had a

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Speaker 1: trance like quality as a result, but Jarrett couldn't simply

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Speaker 1: relax into that easy listening zone because the tiny piano

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Speaker 1: simply wasn't loud enough. He stood up, twisting, pounding down

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Speaker 1: on the keys, desperately trying to create enough volume to

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Speaker 1: reach the people in the back row. Jarrett really had

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Speaker 1: to play that piano very hard to get enough volume

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Speaker 1: to get to the balconies. He was really pachoo pushing

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Speaker 1: the hoods down, standing up, sitting down, moaning, writhing. Jarrett

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Speaker 1: didn't hold back in any way as he pummeled the

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Speaker 1: unplayable piano to produce something unique. That night became legendary,

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Speaker 1: the performance that made Keith Jarrett's reputation. It wasn't the

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Speaker 1: music that he ever imagined and playing, but handed an

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Speaker 1: impossible mess. Jarrett saured, I never before or after saw

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Speaker 1: anybody so immersed in his music. You could see it.

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Speaker 1: He was absolutely there. That was how one member of

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Speaker 1: the audience remembers it. It's just as Brian Eno said,

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Speaker 1: what makes you alert is to be faced with a

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Speaker 1: situation that is beyond your control. Jarrett was having to

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Speaker 1: play the piano in a different style, from a different stance,

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Speaker 1: remembering to avoid certain faulty keys, and all in front

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Speaker 1: of the largest audience he'd ever faced. You can bet

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Speaker 1: that he was alert, and you can bet also that

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00:27:52,076 --> 00:27:55,276
Speaker 1: he was trying something new, like a commuter dealing with

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00:27:55,276 --> 00:27:58,356
Speaker 1: a transport strike who suddenly discovers a fresh way to

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Speaker 1: the office. Keith Jarrett could have played the music he

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Speaker 1: played at Cologne on any piano, but it was only

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Speaker 1: when he was forced to deal with the limitations of

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Speaker 1: a bad piano that had occurred to him to try.

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Speaker 1: Usually we don't try unless something forces us to. Maybe

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Speaker 1: it's a subway strike, maybe it's the turn of an

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Speaker 1: oblique strategist card, or maybe it's a gilt trip from

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Speaker 1: a German teenager. You might wonder why Keith Jarrett and

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Speaker 1: Manfred Ikea even bothered to record the concert when they

397
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Speaker 1: expected it to be an embarrassment. It's a fair question.

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Speaker 1: Jarrett had told Ika to send the recording engineers home,

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Speaker 1: what was the point, but Ika argued that since they

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Speaker 1: were there, they might as well press record on the

401
00:28:52,316 --> 00:28:56,676
Speaker 1: tape machine. Jarrett later admitted the logic, we know what

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Speaker 1: we went through, We've paid for the sound guys to

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Speaker 1: come here, so why don't we just let him record

404
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Speaker 1: it and we'll have a tape of it. That way,

405
00:29:04,836 --> 00:29:07,996
Speaker 1: at least Iker would have documentary evidence of what a

406
00:29:08,116 --> 00:29:13,236
Speaker 1: musical catastrophe sounds like. But he didn't get a catastrophe.

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00:29:13,836 --> 00:29:17,756
Speaker 1: He got a masterpiece. The recording was released as the

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Speaker 1: Coln Concert. It's the best selling piano album in history,

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00:29:21,796 --> 00:29:25,116
Speaker 1: and the best selling solo jazz album too. There's something

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Speaker 1: very special about it. My wife asked me to put

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Speaker 1: the music on while she was in labor, not once,

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Speaker 1: but twice, and it's so good that, even after that

413
00:29:34,476 --> 00:29:40,116
Speaker 1: rather painful association, we both still love listening. Yet it's

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00:29:40,156 --> 00:29:44,876
Speaker 1: so nearly never happened. If vera Branders hadn't begged. If

415
00:29:44,956 --> 00:29:48,316
Speaker 1: Keith Jarrett hadn't felt pity for that, the draggled teenage girl,

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Speaker 1: he certainly would never have chosen to play on a

417
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Speaker 1: piano like that. Varah Branders wasn't credited on that blockbuster album.

418
00:29:57,836 --> 00:30:00,516
Speaker 1: She never got a penny of royalties, and in a

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00:30:00,556 --> 00:30:05,476
Speaker 1: way that's fair enough. Concert promoters aren't artists, and yet

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00:30:05,796 --> 00:30:08,996
Speaker 1: I have no doubt that the Coln concert would never

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Speaker 1: have been such a special piece of music without Vera

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Speaker 1: Branda's and her unplayable piano. All of us, from time

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Speaker 1: to time have to deal with our own unplayable pianos.

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Speaker 1: When that happens, we need to sit down and try

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Speaker 1: to play. You've been listening to Cautionary Tales, and if

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Speaker 1: you liked this particular episode, I wrote a book about

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Speaker 1: these ideas. It's called MESSI you might like it. Cautionary

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Speaker 1: Tales is written and presented by me Tim Harford. Our

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Speaker 1: producers are Ryan Dilley and Marilyn Rust. The sound designer

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Speaker 1: and mixer was Pascal Wise, who also composed the amazing music.

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Speaker 1: This season stars Alan Cumming, Archie Panjabi, Toby Stevens and

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Speaker 1: Russell Tovey with enso Celenti, Ed Gochen, Lenny Gutteridge, Mass

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Speaker 1: Siam and Roe, rufus Wright and introducing Malcolm Gladwell. Thanks

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Speaker 1: to the team at Pushkin Industries, Julia Barton, Heather Fame,

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Speaker 1: Mia LaBelle, Carlie Migliori, Jacob Weisberg and of course the

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Speaker 1: mighty Malcolm Gladwell. And thanks to my colleagues at the

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Speaker 1: Financial Times,