Abstract
This article outlines an approach to analysing Keith Jarrett's solo improvisations. I explore an approach based on topical theory, suggesting that Jarrett seems to employ a range of recognisable styles as a means of creating formal architecture. Using the 1973 Solo Concerts recording as an example, I examine three styles: ballad style, folk ballad style, and blues vamp style. I consider how Jarrett employs styles in certain configurations, resulting in specific kinds of expressive effects. I also explore how in transgressing these patterns Jarrett is able to convey the notion of risk, in a context in which the spectacle of improvisation comes very much to the fore.
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