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Keith Jarrett's The Koln Concert by Peter Elsdon Pdf
In Keith Jarrett's The Köln Concert, Peter Elsdon presents, for the first time, a detailed musical account of Keith Jarrett's best-selling The Köln Concert. It explores the way in which Jarrett developed the format of the solo improvised concert, and looks at the subsequent reception of the record.
Keith Jarrett is one of the great pianists of our times. Before achieving worldwide fame for his solo improvisations, he had already collaborated with Art Blakey, Charles Lloyd and Miles Davis. His 'Köln Concert' album (1975) has now sold around four million copies and become the most successful solo recording in jazz history. His interpretations of the music of Bach, Händel, Bartók or Shostakovich, have also received much attention in later years. Jarrett is considered difficult and inaccessible, and has often abandoned the stage during his concerts due to restless audiences or disturbing photographers.Few writers have come as close to Keith Jarrett as Wolfgang Sandner, who has not only closely followed Jarrett's remarkable career from the 1960s, but has also had the opportunity to visit him in his home in the United States. For this biography, which is full of detailed musical analysis and cross-references to other artistic genres, Sandner has collected new information about Jarrett's family background, much of which is thanks to the translator, Keith Jarrett's youngest brother Chris. The book explores Jarrett's work with other musicians, in particular the members of his American and European Quartets and his Standards Trio, it charts the development of his solo concerts, and it also investigates his work in the classical sphere, as well as the highly original music he has created in his own home studio. It also covers his associations with his various record labels and producers, notably his unparalleled relationship with ECM and its founder Manfred Eicher. This English edition is a significantly extended and updated version of the German original.
Keith Jarrett is probably the most influential jazz pianist living today: his concerts have made him world famous. He was a child prodigy who had his first solo performance at the age of seven. In the sixties he played with the Jazz Messengers and then with the Charles Lloyd Quartet, touring Europe, Asia, and Russia. He played electric keyboards with Miles Davis at the beginning of the seventies, and went on to lead two different jazz groups—one American and one European. He straddles practically every form of twentieth century music—he has produced totally composed music, and has performed classical music as well as jazz. Jarrett has revolutionized the whole concept of what a solo pianist can do. And his albums such as Solo Concerts (at Lausanne and Bremen), Belonging, The Koln Concert, and My Song have gained him a worldwide following.Now, with Keith Jarrett: The Man and His Music, Ian Carr has written the definitive story of Jarrett's musical development and his personal journey. This is a revealing, fascinating, and enlightening account of one of the outstanding musicians of our age.
One of the Best Books of the Year: NPR, GQ, Billboard, JazzTimes In jazz parlance, “playing changes” refers to an improviser’s resourceful path through a chord progression. In this definitive guide to the jazz of our time, leading critic Nate Chinen boldly expands on that idea, taking us through the key changes, concepts, events, and people that have shaped jazz since the turn of the century—from Wayne Shorter and Henry Threadgill to Kamasi Washington and Esperanza Spalding; from the phrase “America’s classical music” to an explosion of new ideas and approaches; from claims of jazz’s demise to the living, breathing scene that exerts influence on mass culture, hip-hop, and R&B. Grounded in authority and brimming with style, packed with essential album lists and listening recommendations, Playing Changes takes the measure of this exhilarating moment—and the shimmering possibilities to come.
Interaction, Improvisation, and Interplay in Jazz by Robert Hodson Pdf
Interaction, Improvisation, and Interplay in Jazz Performance offers a new and exciting way to listen to and understand jazz. When describing a performance, most jazz writers focus on the improvised lines of the soloist and their underlying harmonic progressions. This approach overlooks the basic fact that when you listen to jazz, you almost never hear a single line, but rather a musical fabric woven by several musicians in real time. While it is often pragmatic to single out an individual solo line, it is important to remember that an improvised solo is but one thread in that fabric; and it is a thread supported by, responded to, and responsive of the parts being played by the other musicians in the group. Interaction, Improvisation, and Interplay in Jazz Performance explores the process of player interaction in jazz, and the role this interaction plays in creating improvised music, including: jazz improvisation through theory and analysis musical roles, behaviours and relationships harmony, interaction and performance Interaction, Improvisation, and Interplay in Jazz Performance will appeal to students of jazz history, composition, and performance, as well as to the general jazz audience.
Creative Pedagogy for Piano Teachers by Jeffrey Agrell,Aura Strohschein Pdf
Improvisation can be beneficial to a young pianist's musicality. The musical games and exercises in this book can lead to a better understanding of music theory and style, and can help students develop confidence in their ability to perform.
Keith Jarrett's the Köln Concert by Peter Elsdon Pdf
Keith Jarrett ranks among the most accomplished and influential pianists in jazz history. His Köln Concert stands among the most important jazz recordings of the past four decades, not only because of the music on the record, but also because of the remarkable reception it has received from musicians and lay-listeners alike. Since the album's 1975 release, it has sold over three million copies: an unprecedented feat for a 2 disc set of solo piano performances featuring no well-known songs. This book seeks to uncover what it is about this recording and performance that elicits such success.
Is Jazz Dead? examines the state of jazz in America at the turn of the twenty-first century. Musicians themselves are returning to New Orleans, Swing, and Bebop styles, while the work of the '60s avant-garde and even '70s and '80s jazz-rock is roundly ignored. Meanwhile, global jazz musicians are creating new and exciting music that is just starting to be heard in the United States, offering a viable alternative to the rampant conservatism here. Stuart Nicholson's thought-provoking book offers an analysis of the American scene, how it came to be so stagnant, and what it can do to create a new level of creativity. This book is bound to be controversial among jazz purists and musicians; it will undoubtedly generate discussion about how jazz should grow now that it has become a recognized part of American musical history. Is Jazz Dead? dares to ask the question on all jazz fan's minds: Can jazz survive as a living medium? And, if so, how?
Make to Know: From Spaces of Uncertainty to Creative Discovery will change the way you think about creativity. The book upends popular notions of innate artistic and visionary genius and probes instead the event of discovery that happens through the act of making. In contrast to the classic tale of Michelangelo, who 'saw the angel in the stone', the artists and designers Buchman interviews for this book talk about knowing their work as they engage in the doing. Make to Know explores the revelatory nature of the creative journey itself. As Buchman weaves together the vivid stories of his multiple conversations, we learn about writers of all stripes as they confront creative spaces of uncertainty 'the blank page'; about visual artists and what they understand from the materials they encounter; about designers and architects and the iterative process of solving problems; and about actors and musicians facing the surprises of improvisational performance. Make to Know is a book that will, ultimately, open a path to your own making, and, in the end, will have significant implications for how you live. Make to Know presents a way of thinking that democratizes creativity and uncovers a process that leads to knowing both ones work and oneself. It is relevant to anyone interested in why creativity matters.
The urge to tidiness seems to be rooted deep in the human psyche. Many of us feel threatened by anything that is vague, unplanned, scattered around or hard to describe. We find comfort in having a script to rely on, a system to follow, in being able to categorise and file away. We all benefit from tidy organisation - up to a point. A large library needs a reference system. Global trade needs the shipping container. Scientific collaboration needs measurement units. But the forces of tidiness have marched too far. Corporate middle managers and government bureaucrats have long tended to insist that everything must have a label, a number and a logical place in a logical system. Now that they are armed with computers and serial numbers, there is little to hold this tidy-mindedness in check. It's even spilling into our personal lives, as we corral our children into sanitised play areas or entrust our quest for love to the soulless algorithms of dating websites. Order is imposed when chaos would be more productive. Or if not chaos, then . . . messiness. The trouble with tidiness is that, in excess, it becomes rigid, fragile and sterile. In Messy, Tim Harford reveals how qualities we value more than ever - responsiveness, resilience and creativity - simply cannot be disentangled from the messy soil that produces them. This, then, is a book about the benefits of being messy: messy in our private lives; messy in the office, with piles of paper on the desk and unread spreadsheets; messy in the recording studio, the laboratory or in preparing for an important presentation; and messy in our approach to business, politics and economics, leaving things vague, diverse and uncomfortably made-up-on-the-spot. It's time to rediscover the benefits of a little mess.
Thought experiments are tools philosophers and scientists use to investigate how things are, without actually having to go out and experiment in the real world. This book presents forty-two philosophical thought experiments. Each thought experiment is illustrated by De Cruz (who is an illustrator as well as a philosopher), and is summarized in one or two paragraphs, which is followed by a brief exploration of its significance. Each thought experiment also includes a longer (approximately 2-page) reflection, written by a philosopher who is a specialist in the field. De Cruz's unique illustrations serve as visual and accessible starting points for classroom discussions in Intro to Philosophy courses.
A group of resourceful kids start "solution-seekers.com," a website where "cybervisitors" can get answers to questions that trouble them. But when one questioner asks the true meaning of Christmas, the kids seek to unravel the mystery by journeying back through the prophecies of the Old Testament. What they find is a series of "S" words that reveal a "spectacular story!" With creative characters, humorous dialogue and great music, The "S" Files is a children's Christmas musical your kids will love performing.
Paul McCartney and John Lennon described him as the Beatles' "favorite group," he won Grammy awards, wrote and recorded hit songs, and yet no figure in popular music is as much of a paradox, or as underrated, as Harry Nilsson. In this first ever full-length biography, Alyn Shipton traces Nilsson's life from his Brooklyn childhood to his Los Angeles adolescence and his gradual emergence as a uniquely talented singer-songwriter. With interviews from friends, family, and associates, and material drawn from an unfinished autobiography, Shipton probes beneath the enigma to discover the real Harry Nilsson. A major celebrity at a time when huge concerts and festivals were becoming the norm, Nilsson shunned live performance. His venue was the studio, his stage the dubbing booth, his greatest triumphs masterful examples of studio craft. He was a gifted composer of songs for a wide variety of performers, including the Ronettes, the Yardbirds, and the Monkees, yet Nilsson's own biggest hits were almost all written by other songwriters. He won two Grammy awards, in 1969 for "Everybody's Talkin'" (the theme song for Midnight Cowboy), and in 1972 for "Without You," had two top ten singles, numerous album successes, and wrote a number of songs--"Coconut" and "Jump into the Fire," to name just two--that still sound remarkably fresh and original today. He was once described by his producer Richard Perry as "the finest white male singer on the planet," but near the end of his life, Nilsson's career was marked by voice-damaging substance abuse and the infamous deaths of both Keith Moon and Mama Cass in his London flat. Drawing on exclusive access to Nilsson's papers, Alyn Shipton's biography offers readers an intimate portrait of a man who has seemed both famous and unknowable--until now.
