Tales of plucky youths and one-night-only performances are both familiar to music history – or perhaps more accurately, music lore. One such occasion was Keith Jarrett’s now-legendary performance in Cologne in January 1975. An entirely improvised one-hour concert at the Cologne Opera House became the best-selling solo jazz album in history, but – as Ido Fluk’s new film KÖLN 75 narrates – it almost did not happen.

Key to the true story is Vera Brandes (Mala Emde). The fact that she was just sixteen years old at the film’s start does not stop her from tracking down her favourite musicians and posing as a British concert promoter to get acts like Jarrett into town. Her plucky enthusiasm and seemingly irrepressible energy for multitasking will not let any obstacles get in her way – not school, not scheduling, nor the sudden absence of a Bösendorfer Imperial Grand piano that Jarrett was promised and that threatens to derail the entire endeavour.

“This unauthorised approach is no weakness in itself – if anything, biopics that do not slavishly court the approval of their subjects are far better for it.”

KÖLN 75 was made without the cooperation of Jarrett, who has disavowed this concert as a lesser work (though many feel the piano he ended up using lends the concert a unique and beloved sound, as the sales attest). This unauthorised approach is no weakness in itself – if anything, biopics that do not slavishly court the approval of their subjects are far better for it. Freed from the need to fawn and deify, there is room for artistic interpretation and rich, complicated character development. But, possibly as a result of Jarrett’s lack of involvement, Fluk decided to make KÖLN 75 Brandes’ story instead. Emde’s performance is full of life, energy bursting through her face and limbs even as she pretends to be a seasoned professional a full decade older than she actually is. Her unstoppable nature is clearly rendered, and John Magaro’s Jarrett’s more jaded intensity is a strong counterpoint, albeit one familiar to biopics about the tortured musical genius. In an interesting choice, the characters break the fourth wall and note when they are lying; a somewhat endearing affectation that quickly becomes irritating.

“…this spark does not make up for the fact that jazz is, once again on screen, being (over)explained (by white people), rather than explored through its rich musical history.”

This leads to the film’s biggest problems: its audience and lack of trust. The film does not know who it is for – jazz novices or jazz aficionados – and while the segments around the piano sourcing are based in true stories and heroic last-minute efforts, the way they are told makes it seem like Brandes has never seen a piano or attended any sort of performance before Jarrett arrives in town. KÖLN 75 is cut together with narration about jazz music and its history; it is delivered with verve, but this spark does not make up for the fact that jazz is, once again on screen, being (over)explained (by white people), rather than explored through its rich musical history (LA LA LAND still has much to answer for in the cultural imagination). The effect is tiresome, stripping the magic of live music to a series of fun facts.

Unfortunately, performances and occasional wit cannot save KÖLN 75 from being baffling and trying. Unlike the real concert, this film squanders what could be a great premise on a too-neat feel-good story.