Jump to ContentJump to Main Navigation
Keith Jarrett's The Koln Concert$

Peter Elsdon

Print publication date: 2013

Print ISBN-13: 9780199779253

Published to Oxford Scholarship Online: May 2015

DOI: 10.1093/acprof:osobl/9780199779253.001.0001

Show Summary Details
Page of

PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in OSO for personal use (for details see http://www.oxfordscholarship.com/page/privacy-policy). Subscriber: null; date: 21 February 2017

(p.155) Bibliography

(p.155) Bibliography

Source:
Keith Jarrett's The Koln Concert
Publisher:
Oxford University Press

Bibliography references:

Aikin, Jim. “Keith Jarrett.” Contemporary Keyboard (September 1979): 38–54.

Ake, David. “Re-Masculating Jazz: Ornette Coleman, ‘Lonely Woman’, and the New York Jazz Scene of the Late 1950s.” American Music 16/1 (Spring 1998): 25–44.

Ake, David. Jazz Cultures. Los Angeles: University of California Press, 2002.

Ake, David. “The Emergence of the Rural American Ideal in Jazz: Keith Jarrett and Pat Metheny on ECM.” Jazz Perspectives 1/1 (2007): 29–59.

Allen, Graham. Intertextuality. Oxford: Routledge, 2000.

Aronoff, Herbert. “Fine Pianist Plays Mystical Music.” Montreal Gazette (October 24, 1974): 52.

Atkins, E. Taylor, ed. Jazz Planet. Jackson: University of Mississippi Press, 2003.

Auslander, Philip. Liveness: Performance in a Mediatized Culture. London: Routledge, 1999.

Bailey, Derek. Improvisation, Its Nature and Practice in Music. London: British Library, 1992.

Bauer, Randall. “A Certain State of Surrender: Toward a Jarrettian Landscape of Spontaneity.” Ph.D. diss., Princeton University, 2005.

Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” In Illuminations, ed. Hannah Arendt, 219–53. London: Fontana, 1973.

Berliner, Paul F.. Thinking in Jazz, the Infinite Art of Improvisation. Chicago: University of Chicago Press, 1994.

Bley, Paul, with David Lee. Stopping Time: Paul Bley and the Transformation of Jazz. Montreal, Que., Canada: Vehicule Press, 1999.

Blume, Gernot. “Musical Practices and Identity Construction in the Work of Keith Jarrett.” Ph.D. diss., University of Michigan, 1998.

—— “Blurred Affinities: Tracing the Influence of North Indian Classical Music in Keith Jarrett’s Solo Piano Improvisations.” Popular Music 22/2 (2003): 117–42.

Borgo, David. Sync or Swarm: Improvising Music in a Complex Age. New York: Continuum, 2005.

(p.156) Budds, Michael J. Jazz in the Sixties: The Expansion of Musical Resources and Techniques. Iowa City: University of Iowa Press, 1990.

Butterfield, Matthew. “Music Analysis and the Social Life of Jazz Recordings.” Current Musicology 71–73 (Spring 2001–Spring 2002): 324–52.

———. “The Power of Anacrusis: Engendered Feeling in Groove-Based Musics.” Music Theory Online 4/12 (2006).http://www.mtosmt.org/issues/mto.06.12.4/mto.06.12.4.butterfield.html (August 22, 2011).

Carr, Ian. Keith Jarrett: The Man and His Music. London: Paladin, 1992.

Charry, Eric. “Freedom and Form in Ornette Coleman’s Early Atlantic Recordings.” Annual Review of Jazz Studies 9 (1997): 261–94.

Chase, Christopher. “Music, Aesthetics and Legitimation: Keith Jarrett and the ‘Fourth Way.’” Unpublished paper presented at 2010 Midwest Popular Culture Association and Midwest American Culture Association Conference, Minneapolis, October 1, 2010.

Clecak, Peter. America’s Quest for the Ideal Self. New York: Oxford University Press, 1983.

Collier, James Lincoln. “Jazz in the Jarrett Mode.” New York Times (January 7, 1979): 17.

Conroy, Frank. “Mr. Epiphany.” New Times (April 1, 1977): 53.

Cook, Nicholas. “Music Minus One.” New Formations 27 (1995): 23–41.

———. “Between Process and Product: Music and/as Performance.” Music Theory Online 7/2 (2001): 1–31. http://www.mtosmt.org/issues/mto.01.7.2/mto.01.7.2.cook.html (August 22, 2011).

———. “Making Music Together, or Improvisation and Its Others.” The Source 1 (2004): 5–26.

Cook, Nicholas, Eric, Clarke, Daniel, Leech-Wilkinson, and John, Rink, eds. The Cambridge Companion to Recorded Music. Cambridge: Cambridge University Press, 2009.

Corbett, John. Extended Play. Durham: Duke University Press, 1994.

Cottrell, Stephen. “The Rise and Rise of Phonomusicology.” In Recorded Music: Performance, Culture and Technology, ed. Amanda Bayley, 15–36. Cambridge: Cambridge University Press, 2010.

Cuscuna, Michael. “Strictly on the Record: The Art of Jazz and the Recording Industry.” The Source 2 (2005): 63–70.

Davidson, Jane W. “Visual Perception of Performance Manner in the Movements of Solo Musicians.” Psychology of Music 2/1 (1993): 103–13.

Davis, Miles, with Quincy, Troupe. Miles: The Autobiography. New York: Simon and Schuster, 1989.

Dean, Roger, and Hazel, Smith. Improvisation, Hypermedia and the Arts Since 1945. Amsterdam: Harwood, 1997.

DeNora, Tia. Music in Everyday Life. Cambridge: Cambridge University Press, 2000.

DeVeaux, Scott. “Bebop and the Recording Industry: The 1942 AFM Recording Ban Reconsidered.” Journal of the American Musicological Society 41/1 (1988): 126–65.

———. “Constructing the Jazz Tradition: Jazz Historiography.” Black American Literature Forum 25/3 (Autumn 1991): 525–60.

———. The Birth of Bebop. Los Angeles: University of California Press, 1998.

Dewar, Andrew Raffo. “Searching for the Center of a Sound: Bill Dixon’s Webern, the Unaccompanied Solo, and Compositional Ontology in Post-Songform Jazz.” Jazz Perspectives 4/1 (2010): 59–87.

(p.157) Dobbins, Bill. Chick Corea, Piano Improvisations. Rottenburg, Ger.: Advance Music, 1991.

Eisenberg, Evan. The Recording Angel. New Haven: Yale University Press, 2005.

Elsdon, Peter. “Keith Jarrett’s Solo Concerts and the Aesthetics of Free Improvisation, 1960–1973.” Ph.D. diss., University of Southampton, 2001.

———. “Listening in the Gaze: The Body in Keith Jarrett’s Solo Piano Improvisations.” In Music and Gesture, eds. Elaine King and Anthony Gritten, 192–207. Aldershot: Ashgate, 2006.

———. “Style and the Improvised in Keith Jarrett’s Solo Concerts.” Jazz Perspectives 2/1 (2008): 51–67.

———. “Jazz Recordings and the Capturing of Performance.” In Recorded Music: Performance, Culture and Technology, edited by Amanda Bayley, 146–63. Cambridge: Cambridge University Press, 2010.

Everett, Walter. The Beatles as Musicians: The Quarry Men Through Rubber Soul. New York: Oxford University Press, 2001.

Fast, Susan. In the Houses of the Holy: Led Zeppelin and the Power of Rock Music. New York: Oxford University Press, 2001.

Feather, Leonard. “Jarrett: Harbinger of New Forms?” Los Angeles Times (June 14, 1976): G19.

Flohr, Karsten. “Jazz-Pianist Begann als Wunderkind.” Hamburger Abendblatt (January 30, 1975): 9.

———. “Keith Jarrett Vermittelte Zwischen Gestern und Heute.” Hamburger Abendblatt (February 2, 1975): 23.

Fonseca-Wollheim, Corinna da. “A Jazz Night to Remember.” Wall Street Journal (October 11, 2008). http://online.wsj.com/article/SB978019977925323957.html (August 10, 2011).

Fordham, John. “50 Great Moments in Jazz: Anthony Braxton Swims Against the Tide.” http://www.guardian.co.uk/music/musicblog/2011/apr/13/50-moments-anthony-braxton-jazz (July 5, 2011).

———. “50 Great Moments in Jazz: Keith Jarrett’s The Köln Concert.” http://www.guardian.co.uk/music/musicblog/2011/jan/31/50-great-moments-jazz-keith-jarrett (July 5, 2011).

Gennari, John. “Jazz Criticism: Its Development and Ideologies.” Black American Literature Forum 25/3 (1991): 449–523.

———. Blowin’ Hot and Cool: Jazz and Its Critics. Chicago: University of Chicago Press, 2006.

Gracyk, Theodore. Rhythm and Noise: An Aesthetics of Rock. London: Tauris, 1996.

Graebner, William. “America’s Poseidon Adventure: A Nation in Existential Despair.” In America in the 70s, eds. Beth Bailey and David Farber, 157–80. Lawrence: University Press of Kansas, 2004.

Gushee, Lawrence. “Lester Young’s ‘Shoeshine Boy’.” In Report of the Twelfth Congress, Berkeley 1977, edited by Daniel, Heartz, and Bonnie, Wade151–69. Kassel: Barenreiter, 1977.

Hatten, Robert. Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation. Bloomington: Indiana University Press, 1994.

Heelas, Paul. The New Age Movement. Oxford: Blackwell, 1996.

(p.158) Heffley, Mike. Northern Sun, Southern Moon: Europe’s Reinvention of Jazz. New Haven: Yale University Press, 2005.

Hodson, Robert. “Breaking Down the Barriers: Steps Toward Free Jazz.” IAJE Jazz Research Proceedings Yearbook, XXX (2000): 102–10.

———. Interaction, Improvisation, and Interplay in Jazz. New York: Routledge, 2007.

Hurley, Andrew Wright. The Return of Jazz: Joachim-Ernst Berendt and West German Cultural Change. New York: Berghahn, 2009.

Iyer, Vijay. “Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American Music.” Music Perception 19/3 (2002): 387–414.

———. “Improvisation, Temporality and Embodied Experience.” Journal of Consciousness Studies 11/3 (2004): 159–73.

Jarrett, Keith. The Köln Concert: Original Transcription. Mainz: Schott, 1991.

Johnson, Bruce. “The Jazz Diaspora.” In The Cambridge Companion to Jazz, eds. Mervyn, Cooke and David, Horn 33–54. Cambridge: Cambridge University Press, 2002.

Jost, Ekkehard. Free Jazz. New York: Da Capo Press, 1994.

Kernfeld, Barry. What to Listen for in Jazz. New Haven: Yale University Press, 1995.

———. “Pop Song Piracy, Fake Books, and a Pre-History of Sampling.” Paper delivered at Copyright and the Networked Computer. University of California Washington Center, Washington, DC, 2003. http://www.personal.psu.edu/bdk4/PREHISTORY.pdf (August 22, 2011).

———. “Groove (i).” In Grove Music Online, Oxford Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/J582400 (July 14, 2011).

Klee, Joe. “Keith Jarrett, Spontaneous Composer.” Down Beat 39/1 (January 20, 1972): 12, 36.

Lacasse, Serge. “Intertextuality and Hypertextuality in Recorded Popular Music.” In The Musical Work: Reality or Invention, ed. Michael, Talbot, 35–58. Liverpool: Liverpool University Press, 2000.

Lake, Steve. “Jarrett: Romance Is Not Dead.” Melody Maker (December 11, 1975): 43.

———, and Paul, Griffiths, eds. Horizons Touched: The Music of ECM. London: Granta, 2007.

Laverne, Andy. “Inside Keith Jarrett’s ‘In Front’.” Keyboard Magazine (March 1988): 112–13.

Lewis, George. “Improvised Music After 1950: Afrological and Eurological Perspectives.” In The Other Side of Nowhere, eds. Daniel, Fischlin and Ajay, Heble, 131–62. Middletown, CT: Wesleyan University Press, 2004.

———. A Power Stronger Than Itself: The AACM and American Experimental Music. Chicago: University of Chicago Press, 2008.

Luty, Bryce. “Jazz Ensembles’ Era of Accelerated Growth, Part II.” Music Educators Journal 69/4 (1982): 49–50, 64.

Macan, Edward. Rocking the Classics: English Progressive Rock and the Counterculture. New York: Oxford University Press, 1997.

Malson, Lucien. “Jazz: Keith Jarrett.” Le Monde (February 7, 1975): 28.

McClary, Susan. Feminine Endings: Music, Gender and Sexuality. Minneapolis: University of Minnesota Press, 1991.

———, and Robert, Walser. “Start Making Sense! Musicology Wrestles with Rock.” In On Record: Rock, Pop and the Written Word, eds. Simon, Frith and Andrew, Goodwin, 277–92. London: Routledge, 1990.

(p.159) Mikowksi, Bill. “Jarrett Is Mix of Lunatic, Genius.” Milwaukee Journal (November 19, 1977): 7.

Mimaroglu, Ilhan. “Keith Jarrett, Mercer Arts Center, New York City.” Down Beat 40/1 (January 18, 1973): 36.

Monson, Ingrid. Saying Something: Jazz Improvisation and Interaction. Chicago: University of Chicago Press, 1996.

———. Freedom Sounds: Civil Rights Call out to Jazz and Africa. New York: Oxford University Press, 2007.

Moreno, Jairo. “Body’n’soul: Keith Jarrett’s Pianism.” Musical Quarterly 83/1 (Spring 1999): 75–92.

Nettl, Bruno. “Thoughts on Improvisation: A Comparative Approach.” Musical Quarterly 60 (1974): 1–19.

———, and Melinda, Russell, eds. In the Course of Performance: Studies in the World of Musical Improvisation. Chicago: University of Chicago Press, 1998.

Nettl, Bruno and Gabriel, Soli, eds. Musical Improvisation: Art, Education, and Society. Urbana: University of Illinois Press, 2009.

Nettl, Bruno, et al. “Improvisation.” In Grove Music Online, Oxford Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/13738pg3 (December 15, 2010).

Nicholson, Stuart. Jazz Rock: A History. Edinburgh: Canongate, 1998.

Nooshin, Laudan. “Improvisation As ‘Other’: Creativity, Knowledge and Power—the Case of Iranian Classical Music.” Journal of the Royal Musical Association 128/2 (2003): 242–96.

Ouspensky, P. D. In Search of the Miraculous. London, Penguin: 1987.

Owens, Thomas. “Charlie Parker: Techniques of Improvisation.” Ph.D. diss., University of California at Los Angeles, 1974.

Palmer, Bob. “Keith Jarrett, Facing You.” Rolling Stone 124 (December 21, 1972): 48.

———. “The Inner Octaves of Keith Jarrett.” Down Beat 41/17 (October 24, 1974): 16–17, 46

———. “Keith Jarrett: Luminescence.” Rolling Stone 200 (November 20, 1975): 68, 71.

Panken, Ted. “What Am I Doing?” Down Beat 75/12 (December 2008): 37.

Porter, Eric. What Is This Thing Called Jazz? Los Angeles: University of California Press, 2002.

———. “Introduction: Rethinking Jazz Through the 1970s.” Jazz Perspectives 4/1 (2010): 1–5.

Porter, Lewis. “John Coltrane’s A Love Supreme: Jazz Improvisation as Composition.” Journal of the American Musicological Society 38/3 (1985): 593–621.

———. Jazz: A Century of Change. New York: Schirmer, 1998.

Pressing, Jeff. “Cognitive Processes in Improvisation.” In Cognitive Processes in the Perception of Art, eds. Ray, Crozier and Anthony, Chapman, 345–63. Amsterdam: Elsevier, 1984.

Radano, Ronald. New Musical Figurations: Anthony Braxton’s Cultural Critique. Chicago: University of Chicago Press, 1993.

Ramshaw, Sara. “Deconstructin(g) Jazz Improvisation: Derrida and the Law of the Singular Event.” Critical Studies in Improvisation 2/1 (2006). http://www.criticalimprov.com/article/view/81 (August 22, 2011).

(p.160) Rasula, Jed. “The Media of Memory: The Seductive Menace of Records in Jazz History.” In Jazz Among the Discourses, ed. Krin, Gabbard, 134–62. London: Duke University Press, 1995.

Ratner, Leonard. Classic Music. New York: Schirmer, 1980.

Reich, Charles. The Greening of America. New York: Random House, 1970.

Roberts, J.S. “In the Middle with Jarrett.” Melody Maker (April 12, 1975): 40.

Rodriguez, Juan. “Jarrett Treats Fans to a Philosophy of Music.” Montreal Gazette (August 30, 1979): 25.

Roszak, Theodore. The Making of a Counterculture. London: Faber and Faber, 1970.

Rub, Bruno. “The Baden Concert. Keith Jarrett’s Badener Gastspiel am Tag nach dem legendären Köln Concert’.” Badener Neujahrsblätter 2006 (2006): 150–56.

Sarath, Ed. “A New Look at Improvisation.” Journal of Music Theory 40/1 (Spring 1996): 1–38.

Saul, Scott. Freedom Is, Freedom Ain’t: Jazz and the Making of the Sixties. Cambridge, MA: Harvard University Press, 2003.

Schuller, Gunther. Early Jazz. New York: Oxford University Press, 1968.

Schulman, Bruce J. The Seventies: The Great Shift in American Culture, Society and Politics. New York: Da Capo Press, 2001.

Shim, Eunmi. Lennie Tristano: His Life in Music. Ann Arbor: University of Michigan Press, 2007.

Small, Christopher. Musicking: The Meanings of Performing and Listening. Hanover, NH: Wesleyan University Press, University Press of New England, 1998.

Smith, Gregory. “Homer, Gregory and Bill Evans? The Theory of Formulaic Composition in the Context of Jazz Piano Improvisation.” Ph.D. diss., Harvard University, 1983.

Solis, Gabriel. Monk’s Music: Thelonious Monk and Jazz History in the Making. Berkeley and Los Angeles: University of California Press, 2008.

Stockdale, Jonty. “Reading Around Free Improvisation.” The Source 1 (2004): 101–14.

Strange, Philip. “Keith Jarrett’s Up-tempo Jazz Trio Playing: Transcription and Analysis of Performances of ‘Just In Time’.” Ph.D. diss., University of Miami, 2003.

Strickland, Edward. American Composers: Dialogues on Contemporary Music. Bloomington: Indiana University Press, 1991.

Such, David. Avant-Garde Jazz Musicians: Performing ‘Out There’. Iowa City: University of Iowa Press, 1993.

Sudnow, David. Ways of the Hand: The Organisation of Improvised Conduct. Cambridge, MA: MIT Press, 1978.

Székely, Michael David. “Thresholds: Jazz, Improvisation, Heterogeneity, and Politics in Postmodernity.” Jazz Perspectives 2/1 (2008): 29–50.

Tackley, Catherine. “Jazz Recordings as Social Texts.” In Recorded Music: Performance, Culture, and Technology, ed. Amanda, Bayley, 167–86. Cambridge: Cambridge University Press, 2010.

Termini, Stephen. “The Art of the Improviser Is the Art of Forgetting: Conspiracies of Freedom and Constraint in the Improvisations of Keith Jarrett.” Ph.D. diss., Royal Academy of Music, University of London, 2006.

Tesser, Neil. “Keith Jarrett: The Köln Concert.” Down Beat 42/4 (February 12, 1975): 22.

———. “Keith Jarrett: Sun Bear Concerts.” Down Beat 46/4 (February 22, 1979): 24.

(p.161) Tomlinson, Gary. “Cultural Dialogics and Jazz: A White Historian Signifies.” Black Music Research Journal 11/12 (Autumn 1991): 229–64.

Ullman, Michael. “Starting from Zero: ECM at 25.” Schwann Spectrum (Fall 1994): 9.

Walser, Robert. “The Body in the Music: Epistemology and Musical Semiotics.” College Music Symposium 31 (1991): 117–25.

———, and Susan, McClary. “Theorizing the Body in African-American Music.” Black Music Research Journal 14/1 (Spring 1994): 75–84.

Waters, Keith. The Studio Recordings of the Miles Davis Quintet, 1965–68. New York: Oxford University Press, 2011.

Webb, James. The Harmonious Circle. London: Thames and Hudson, 1980.

Welburn, Ron. “The Unaccompanied Jazz Soloist.” Music Journal 34/8 (1976): 34.

Whiteley, Sheila. The Space Between the Notes. London: Routledge, 1992.

Whyton, Tony. Jazz Icons: Heroes, Myths, and the Jazz Tradition. Cambridge: Cambridge University Press, 2010.

Williams, Richard. “Keith Jarrett.” The Times (October 24, 1977): 7.

Wilmer, Valerie. As Serious as Your Life. London: Serpent’s Tail, 1977.

Wilson, John S. “In Dancing Spirits: Jarrett Improvises on the Keyboard.” New York Times (March 4, 1975): 41.

———. “Jazz Pianist to Slow Pace.” New York Times (March 23, 1975): 80.

———. “In League with the Jazz Giants.” New York Times (September 28, 1975): 399.

Wolfe, Tom. The Purple Decades. London: Picador, 1993.