By Peter Elsdon
Keith Jarrett ranks one of the so much entire and influential pianists in jazz heritage. His The Köln live performance stands one of the most crucial jazz recordings of the previous 4 many years, not just end result of the song at the list, but in addition as a result amazing reception it has obtained from musicians and lay-listeners alike. because the album's 1975 liberate, it has bought over 3 million copies: a amazing success for any jazz checklist, yet an exceptional feat for a two-disc set of solo piano performances that includes no famous 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 luck. spotting The Köln live performance as a multi-faceted textual content, Elsdon engages with it musically, culturally, aesthetically, and traditionally with the intention to 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 a big gap in jazz scholarship, and is key interpreting for jazz students and musicians alike, in addition to Keith Jarrett's many lovers.
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Extra info for Keith Jarrett's The Köln Concert (Oxford Studies in Recorded Jazz)
Sample text
Gesso and native pigments on wood. Restored/repainted 1980s by Fred Vigil and Luis Tapia using acrylic paints. ) In addition, women may have assisted santeros in the application of color to the body and faces of the bultos or other similar tasks. 14 Considering the large number of retablos and bultos remaining today in private collections and museums, it is obvious that the demand for New Mexican santos grew tremendously after the first locally made pieces were displayed in the churches. Santos were a part of the daily lives of the parishioners, and even the humblest home had an area set aside for worship—a home altar that usually displayed a patron saint made by a santero.
Taylor Museum, 1979), 55. 18. : Academy of American Franciscan History, 1957), 7. 19. : University of Texas Press, 1967), 396. 20. Donna Pierce, in Spanish New Mexico: The Spanish Colonial Arts Society Collection vol. : Museum of New Mexico Press, 1996) (SANM 1360), 43. 21. Chavez also mentioned this in a lecture given when the Spanish monarchs, Juan Carlos and Sofia, visited Santa Fe in the summer of 1987. 22. Marsha Clift Bol, “The Anonymous Artist of Laguna and the New Mexican Colonial Altar Screen” (master’s thesis, University of New Mexico, 1980).
Attributed to Fray Andres Garcia, third quarter of 18th century. Life-sized unclothed figure, 65". Gessoed wood painted with native pigments. ) state (fig. 11, detail), the figure represents Christ after being taken down from the cross and anointed with the Holy Oils. No loincloth is painted on the figure; it was expected that a real cloth would be placed over that area. A comparison of the carved and painted facial features of this figure with those of the Crucifix hanging on the main altar at the Santuario de Chimayó indicates that perhaps the head was overpainted by Molleno.