Keith Jarrett's The Köln Concert (Oxford Studies in Recorded Jazz)

By Peter Elsdon

Keith Jarrett ranks one of the so much complete and influential pianists in jazz heritage. His The Köln live performance stands one of the most vital jazz recordings of the previous 4 a long time, not just a result of tune at the checklist, but in addition due to the notable reception it has got from musicians and lay-listeners alike. because the album's 1975 unencumber, it has offered over 3 million copies: a outstanding fulfillment for any jazz list, yet an remarkable feat for a two-disc set of solo piano performances that includes no recognized songs.
In Keith Jarrett's The Köln live performance, writer Peter Elsdon seeks to discover what it truly is approximately this recording, approximately Keith Jarrett's functionality, that elicits such good fortune. spotting The Köln live performance as a multi-faceted textual content, Elsdon engages with it musically, culturally, aesthetically, and traditionally which will comprehend the live performance and album as a way during which Jarrett articulated his personal cultural and musical outlook, and identify himself as a significant artist. via those explorations of the live performance as textual content, of the recording and of the concert, Keith Jarrett's The Köln live performance fills an important gap in jazz scholarship, and is vital interpreting for jazz students and musicians alike, in addition to Keith Jarrett's many fanatics.

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See for example John Fordham, “50 nice Moments in Jazz: Anthony Braxton Swims opposed to the Tide. ” http://www. parent. co. uk/music/musicblog/2011/apr/13/50-moments-anthony-braxton-jazz (July five, 2011). 2. John Fordham, “50 nice Moments in Jazz: Keith Jarrett’s The Koln live performance. ” http://www. father or mother. co. uk/music/musicblog/2011/jan/31/50-great-moments-jazz-keith-jarrett (July five 2011). three. “For One evening Only”, BBC Radio four, broadcast April nine, 2011. The BBC used to be no longer the 1st broadcaster to create a documentary at the Köln live performance. In 2009 Swedish broadcaster Sveriges Radio aired a documentary referred to as “Det Ospelbara Pianot” (The Unplayable Piano). http://sverigesradio. se/sida/artikel. aspx? programid=3493&artikel=2898256 (July five 2011). four. A information merchandise on Bösendorfer’s site offers a bit additional info concerning the challenge with the piano at the day of the functionality. “The Köln live performance. ” http://www. boesendorfer. com/en/current-news. html? page=5408 (January 25 2011). This account differs a little bit from Brandes’s. The piano that have been asked was once, based on her, now not within the Opera apartment in any respect, and consequently couldn't were delivered to the degree. five. Ian Carr, Keith Jarrett: the fellow and His song (London: Paladin, 1992), 70–73. “Det Ospelbara Pianot,” Sveriges Radio, 2009. 6. “For One evening Only,” BBC Radio, 2011. 7. See for example Jed Rasula, “The Media of reminiscence: The Seductive risk of documents in Jazz History,” in Jazz one of the Discourses, ed. Krin Gabbard (London: Duke college Press, 1995), 136; Scott DeVeaux, “Constructing the Jazz culture: Jazz Historiography,” Black American Literature discussion board 25/3 (Autumn 1991): 532. eight. Evan Eisenberg, The Recording Angel (New Haven: Yale collage Press, 2005), 89. nine. See for example Theodore Gracyk, Rhythm and Noise: An Aesthetics of Rock (London: Tauris, 1996), 37–67. 10. Matthew Butterfield, “Music research and the Social lifetime of Jazz Recordings,” present Musicology 71–73 (Spring 2001–Spring 2002): 332. eleven. See for example Macero’s personal account of the artistic technique fascinated about the construction of files like In A Silent approach. http://milesite. blogspot. com/2009/02/teomacero-on-producing-miles-davis. html (January 25, 2011). 12. Butterfield, “Music research and the Social lifetime of Jazz Recordings,” 332–33. thirteen. Philip Auslander, Liveness: functionality in a Mediatized tradition (London: Routledge, 1999), three. 14. Quoted in Auslander, Liveness, 39. NOTES TO bankruptcy ONE 1. See for example Rasula, “The Media of reminiscence. ” 2. E. Taylor Atkins, ed. , Jazz Planet (Jackson: college of Mississippi Press, 2003), xiii. three. Ronald Radano, New Musical Figurations: Anthony Braxton’s Cultural Critique (Chicago: collage of Chicago Press, 1993), 142–48. George Lewis, an influence more desirable Than Itself: The AACM and American Experimental tune (Chicago: college of Chicago Press, 2008), 215–57. four. Paul Bley, with David Lee, preventing Time: Paul Bley and the Transformation of Jazz (Canada: Vehicule Press, 1999), 99–107. five. Quoted in Ingrid Monson, Freedom Sounds: Civil Rights name out to Jazz and Africa (New York: Oxford college Press, 2007), 268.

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