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Journal articles on the topic 'Keith Jarrett'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

Blume, Gernot. "Blurred affinities: tracing the influence of North Indian classical music in Keith Jarrett's solo piano improvisations." Popular Music 22, no. 2 (2003): 117–42. http://dx.doi.org/10.1017/s0261143003003088.

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In the first forty years of his career, American pianist Keith Jarrett has established a reputation in multiple stylistic directions. Jarrett has typically incorporated influences as varied as bebop, country, rock, gospel, minimalism, baroque and classical styles into his often lengthy improvisations. Vital to his musical persona, but less obvious, is the influence North Indian classical music has had in shaping Jarrett's improvisatory strategies. Although he never formally studied Indian music, and although his instrument – the piano – is far removed from the conceptual backdrop of North Indi

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2

Monteil, Pierre-Olivier. "À l'écoute de Keith Jarrett." Autres Temps. Les cahiers du christianisme social 65, no. 1 (2000): 99–103. http://dx.doi.org/10.3406/chris.2000.2189.

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3

Dobbins, Bill, and Ian Carr. "Keith Jarrett: The Man and His Music." Notes 49, no. 1 (1992): 141. http://dx.doi.org/10.2307/897230.

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4

Early, Gerald. "Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s." Daedalus 148, no. 2 (2019): 67–82. http://dx.doi.org/10.1162/daed_a_01743.

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In the 1970s, pianist Keith Jarrett emerged as a major albeit controversial innovator in jazz. He succeeded in making completely improvised solo piano music not only critically acclaimed as afresh way of blending classical and jazz styles but also popular, particularly with young audiences. This essay examines the moment when Jarrett became an international star, the musical and social circumstances of jazz music immediately before his arrival and how he largely unconsciously exploited those circumstances to make his success possible, and what his accomplishments meant during the 1970s for jaz

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5

Gagatsis, Alexander. "Keith Jarrett: A Biography. By Wolfgang Sandner. Translated by Chris Jarrett. Sheffield: Equinox, 2020. 215 pp. ISBN 9781800500112." Popular Music 40, no. 1 (2021): 178–80. http://dx.doi.org/10.1017/s0261143021000222.

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6

Inck, Thomas. "A Beginner’s Mind: On Beginning Psychoanalytic Schooling … Bion, Keith Jarrett, and the Primal Scene." Studies in Gender and Sexuality 17, no. 3 (2016): 216–20. http://dx.doi.org/10.1080/15240657.2016.1200901.

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7

Ake, David. "The Emergence of the Rural American Ideal in Jazz: Keith Jarrett and Pat Metheny on ECM Records." Jazz Perspectives 1, no. 1 (2007): 29–59. http://dx.doi.org/10.1080/17494060601061014.

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8

Adler, Jeffrey S. "Review: A People’s Archive of Police Violence in Cleveland, Bishop Chui, Jarrett Drake, Melissa Hubbard, Jasmine Jones, Carol Steiner, Stacie Williams, Keith Wilson, Volunteer Activists and Archivists." Public Historian 40, no. 4 (2018): 190–92. http://dx.doi.org/10.1525/tph.2018.40.4.190.

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9

West, Aaron J. "Keith Jarrett's The Köln Concert." Jazz Perspectives 8, no. 1 (2014): 99–102. http://dx.doi.org/10.1080/17494060.2014.961332.

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10

Moreno, J. "Body'n'Soul?: Voice and Movement in Keith Jarrett's Pianism." Musical Quarterly 83, no. 1 (1999): 75–92. http://dx.doi.org/10.1093/mq/83.1.75.

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11

Elsdon, Peter. "Style and the Improvised in Keith Jarrett's Solo Concerts." Jazz Perspectives 2, no. 1 (2008): 51–67. http://dx.doi.org/10.1080/17494060801949000.

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12

Sarnowski, Michael. "Enemy Encounters in the War Poetry of Wilfred Owen, Keith Douglas, and Randall Jarrell." Humanities 7, no. 3 (2018): 89. http://dx.doi.org/10.3390/h7030089.

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While some war poets amplify the concept of anonymity for enemy soldiers, projecting an “us vs. them” mentality, other defining voices of war counter this militaristic impulse to dehumanize the enemy. This pivot toward describing the World Wars more like humanitarian crises than an epic of good and evil is most notable in poems that chronicle both real and imagined close-range encounters between combatants. The poem “Strange Meeting” by British First World War soldier Wilfred Owen uses the vision of two enemy soldiers meeting in hell to reinforce his famous notion that war is something to be p

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13

Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.

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This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants,

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14

Komara, Edward. "Keith Jarrett’s The Köln Concert by Peter Elsdon, and: People Get Ready: The Future of Jazz is Now! ed. by Ajay Heble, Rob Wallace, and: Beyond a Love Supreme: John Coltrane and the Legacy of an Album by Tony Whyton." Notes 70, no. 4 (2014): 684–87. http://dx.doi.org/10.1353/not.2014.0071.

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15

"Keith Jarrett's The Koln concert." Choice Reviews Online 50, no. 12 (2013): 50–6670. http://dx.doi.org/10.5860/choice.50-6670.

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16

Mortensen, John. "Keith Jarrett’s The Köln Concert, by Peter Elsdon and Interaction, Improvisation, and Interplay in Jazz, by Robert Hodson." College Music Symposium 55 (January 12, 2015). http://dx.doi.org/10.18177/sym.2015.55.rev.10867.

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