found this ---->
Actual gear
From "Jazz Times", circa 2005
"One of the problems with being a musician is you don't have time to be a proper audiophile," he says. "To be proper, you have to be insane all the time and obsessed all the time. You need a psychotherapist after a while. And I would also say this about improvising alone on stage: It is a kind of craziness, a certain insanity. You need a certain type of craziness to be a musician, and also to get into this audio thing appropriately. So I've learned that if I'm only an audiophile part time, it works really well.
"Luckily, it's not a process that is continuing for me anymore-what I've been using for quite a while is a high-end tube preamp from Convergent Audio Technology with very good transistor monoblocks [BEL 1001 Mk III], which are way underrated at this point."
Recently, Jarrett put a couple finishing touches on his dream system, which he uses for work as well as for his rare moments of leisure: "I was completely blown away by one of the most revelatory things I've ever heard: the ELP turntable, the laser turntable. The presentation is not like anything I've ever heard before from an LP. As soon as it arrived, instantly, my entire record collection was brand new. I've never had that experience. I'm listening to real people and real bass-you even get depth and layers out of mono recordings.
"Almost equally revealing are the new speakers I recently purchased, the Eidolon Diamonds from Avalon Acoustics," Jarrett continues. "I kept hearing things through them thinking I must have blown a driver because I was hearing this distortion. But I got out my Stax electrostatic headphones, which are very revealing, and listened very closely-then realized there was distortion over there in the right channel. I'd never heard it before. I went back to the speakers and it was plain as day, something apart from the music. The speakers are amazing at revealing those kinds of recording realities, and also lifelike instrument size. And I had to learn all over again that every recording was made in a different space, on a different day, with different mikes, as though I shouldn't know that already."
"My reference system allows me to listen to a master tape or a test CD, so that if I say 'OK' to it, I say 'OK' to it. It'll be out there forever," he says. "Since the inception of digital, I have been disappointed with every single piano recording I've ever made, with the exception of two or three, and I'm now able to describe accurately to Manfred what I hear that I don't like.
"Sometimes in audio the adjectives are very hard to find, like describing wine," Jarrett says. "You have to develop a whole new vocabulary. Manfred likes to use the word 'silvery'-he likes that sound of the piano-and I would never want a piano to sound 'silvery.' But he might mean what I mean-it's just hard to know."
