Keith Jarrett: influences, peers and legacy

Every connection with its receipt

Keith Jarrett's music sits at the crossroads of bebop pedigree, European classical rigor, gospel cadence and mystical philosophy. This mix traces the pianists who shaped his touch, the Boston and Miles Davis orbits that launched him, and the improvisers who took his lessons forward.

The Kynda mix for Keith Jarrett

• Key Influence · Sunday at the Village Vanguard by Bill Evans (1961). Evans is the pivotal precedent for Jarrett's approach: a classically trained pianist who folded Debussy-like voicings and pedal-shaded lyricism into jazz, and who made the piano trio an equal three-way conversation. The 1961 Vanguard dates with Scott LaFaro and Paul Motian model the elastic, telepathic interplay Jarrett later pursued with Gary Peacock and Jack DeJohnette in the Standards Trio.
• Influencia Obscura · Closer by Paul Bley (1966). Bley is the under-sung pianist whose spare, harmonically free lyricism — much of it on Carla Bley compositions — prefigures Jarrett's rubato ballad language. Bley preceded Jarrett in Charles Lloyd-adjacent free circles and in ECM's early roster, and his ESP-Disk/ECM work showed how a pianist could improvise freely while remaining melodic, a path Jarrett's American Quartet followed.
• Local Roots · Duster by Gary Burton (1967). Jarrett came out of the Boston conservatory milieu after studying at Berklee in the early 1960s before moving to New York. Vibraphonist Gary Burton emerged from the same Berklee orbit and, with Duster, fused jazz with country and rock textures — an American-vernacular openness that parallels Jarrett's use of gospel and folk, and Burton also became an early ECM cornerstone alongside him.
• Beyond the Medium · Meetings with Remarkable Men by G. I. Gurdjieff (1963). Jarrett's interest in Gurdjieff's teachings was public enough that he recorded the mystic's hymns for ECM. This memoir, the second of Gurdjieff's 'All and Everything' series, lays out the search for conscious attention and self-remembering that maps onto Jarrett's practice of entering a solo concert with no material prepared, treating improvisation as an act of surrender and disciplined presence rather than display.
• Peer · Now He Sings, Now He Sobs by Chick Corea (1968). Corea and Jarrett were literally side by side in Miles Davis's 1970 band, two electric keyboardists in the same stormy ensemble, and both left to pursue acoustic trios and long-form composition. This trio date with Miroslav Vitous and Roy Haynes is Corea's pre-Miles statement — percussive, Spanish-tinged, formally adventurous — the closest contemporary parallel to Jarrett's early trio thinking.
• From the Canon · The Köln Concert by Keith Jarrett (1975). Recorded in Cologne on an inadequate substitute piano after a sleepless drive, this wholly improvised solo concert became the best-selling piano album in history. Jarrett worked around the instrument's weak registers by leaning on ostinatos, gospel cadences and the middle range — constraints that produced the record's hypnotic, folk-like themes and made ECM a household name in Europe.
• Key Collaborator · Special Edition by Jack DeJohnette (1980). DeJohnette played in Miles Davis's band with Jarrett around 1970 and then anchored the Standards Trio for three decades, the drummer whose loose, cymbal-led time made Jarrett's rubato possible. Special Edition is his own leader statement with David Murray and Arthur Blythe — proof that the trio's most flexible pulse came from a composer-bandleader, not merely an accompanist.
• Legacy · The Art of the Trio, Volume One by Brad Mehldau (1997). Mehldau has been open about the weight of Jarrett's example, and the debt is structural: a piano trio that treats standards and originals as vehicles for long-form development, with rubato introductions and interactive drumming. His own solo concert recordings extend Jarrett's practice of building extended improvised structures in front of an audience without prepared material.

What influenced Keith Jarrett

• Miles Davis (1926). Jarrett names Miles Davis as a vital musical and personal influence. (also via Kind of Blue) “I wouldn't have played that electric piano with anybody else” (Fresh Air Archive (NPR))
• Dave Brubeck. Jarrett was inspired by seeing Dave Brubeck perform. “And then I heard Oscar Peterson, then I heard, oh, Brubeck live in Allentown.” (Fresh Air (NPR/WHYY))
• Andre Previn. Jarrett names Andre Previn as one of the first jazz musicians he heard, sparking his interest in jazz. “I think I heard Andre Previn because, you know, Allentown was not a center of jazz culture.” (Fresh Air (NPR/WHYY))
• Oscar Peterson. Jarrett lists Oscar Peterson among the early jazz artists who shaped his interest in the genre. “And then I heard Oscar Peterson, then I heard, oh, Brubeck live in Allentown.” (Fresh Air (NPR/WHYY))
• Count Basie. Jarrett cites hearing Count Basie live as a formative jazz experience. “And I heard Basie live a couple times. That was great.” (Fresh Air (NPR/WHYY))
• Sunday at the Village Vanguard by Bill Evans (1961). Sunday at the Village Vanguard (Bill Evans) — titan for Keith Jarrett “The tone, touch, texture, and harmonic richness of his playing affected the majority of pianists who followed him." Evans has left his mark on such players as Herbie Hancock, Chick Corea, Paul Bley, Keith Jarrett, Steve Kuhn, Warren Bern…” (en.wikipedia.org)
• Kind of Blue by Miles Davis (1959). Kind of Blue (Miles Davis) — titan for Keith Jarrett “Jarrett started his career with Art Blakey and later moved on to play with Charles Lloyd and Miles Davis.” (en.wikipedia.org)
• Nadia Boulanger. Jarrett was invited to study under Nadia Boulanger. “He was invited to study classical composition in Paris with Nadia Boulanger, but he was already leaning toward jazz and turned it down.” (Wikipedia)
• Eleanor Sokoloff. Jarrett studied piano under Eleanor Sokoloff. “he took classical piano lessons with a series of teachers, including Eleanor Sokoloff of the Curtis Institute of Music in Philadelphia” (Wikipedia)
• Berklee College of Music. Jarrett attended Berklee College of Music. “Jarrett moved to Boston to attend Berklee College of Music and play cocktail piano in local Boston clubs.” (Wikipedia)
• Bach. Jarrett's later solo concerts show influence of Bach. “reflecting his interest in composers such as Bach and Shostakovich” (Wikipedia)
• Shostakovich. Jarrett's later solo concerts show influence of Shostakovich. “reflecting his interest in composers such as Bach and Shostakovich” (Wikipedia)
• Cecil Taylor. Critic Kevin Whitehead compares Jarrett's percussive playing style to Cecil Taylor's. “self-consciously beautiful or single-minded and percussive, rather like Cecil Taylor” (Fresh Air Archive (NPR))
• Sacred Hymns by G. I. Gurdjieff (1925). Sacred Hymns (G. I. Gurdjieff) — ghost for Keith Jarrett “Solo piano versions of these works have been recorded by Cecil Lytle, Keith Jarrett, and Frederic Chiu.” (en.wikipedia.org)
• Meetings with Remarkable Men by G. I. Gurdjieff (1963). Meetings with Remarkable Men (G. I. Gurdjieff) — culture for Keith Jarrett “Solo piano versions of these works have been recorded by Cecil Lytle, Keith Jarrett, and Frederic Chiu.” (en.wikipedia.org)
• The Well-Tempered Clavier, Book I by Johann Sebastian Bach (1722). The Well-Tempered Clavier, Book I (Johann Sebastian Bach) — culture for Keith Jarrett (musicbrainz.org)
• Closer by Paul Bley (1966). Closer (Paul Bley) — ghost for Keith Jarrett
• George Gurdjieff. Jarrett was influenced by and recorded compositions of Gurdjieff.

Peers and kindred spirits

• Jack DeJohnette. Long-term musical collaboration with Jack DeJohnette. (also via Special Edition) “It features Gary Peacock on bass, Jack Dejohnette, drums.” (Fresh Air (NPR/WHYY))
• Gary Peacock. Formation of the Standards Trio with Gary Peacock. (also via Tales of Another) “It features Gary Peacock on bass, Jack Dejohnette, drums.” (Fresh Air (NPR/WHYY))
• Charles Lloyd. Jarrett played in Charles Lloyd's band before joining Miles Davis's group. (also via Forest Flower) “Eventually started to get noticed. Then you started playing with Charles Lloyd and after that went with Miles Davis.” (Fresh Air Archive (NPR))
• Chick Corea. Jarrett performed alongside Chick Corea in Davis's group. (also via Now He Sings, Now He Sobs) “Jarrett played both electronic organ and Rhodes piano, alternating with Chick Corea.” (Wikipedia)
• Ornette Coleman (1930). Ornette Coleman's remark to Jarrett documents their personal encounter within the jazz scene. “One of the earliest times I was in the same room with him, he said something like, man, you got to be Black” (Fresh Air Archive (NPR))
• Stan Kenton. Jarrett performed as a guest with Stan Kenton's big band early in his career. “And I actually sat in with Stan Kenton when he had that giant band.” (Fresh Air (NPR/WHYY))
• Herbie Hancock. Jarrett describes Herbie Hancock as part of the Miles Davis band scene he later joined. (also via Maiden Voyage) “before it went more electric with Tony Williams and Wayne and Herbie--Wayne Shorter, Herbie Hancock--and maybe Dave Holland, maybe Ron Carter.” (Fresh Air (NPR/WHYY))
• Now He Sings, Now He Sobs by Chick Corea (1968). Now He Sings, Now He Sobs (Chick Corea) — peer for Keith Jarrett “During his tenure with Davis, Jarrett played both electronic organ and Rhodes piano, alternating with Chick Corea.” (en.wikipedia.org)
• Maiden Voyage by Herbie Hancock (1965). Maiden Voyage (Herbie Hancock) — peer for Keith Jarrett “However, Columbia suddenly dropped Jarrett in favor of Herbie Hancock, and Jarrett's manager negotiated a contract with Impulse!” (en.wikipedia.org)
• Special Edition by Jack DeJohnette (1980). Special Edition (Jack DeJohnette) — collaborator for Keith Jarrett “=== Charles Lloyd Quartet === During a show, he was noticed by Jack DeJohnette, who recommended Jarrett to his band leader Charles Lloyd.” (en.wikipedia.org)
• Forest Flower by Charles Lloyd (1966). Forest Flower (Charles Lloyd) — collaborator for Keith Jarrett “Jarrett started his career with Art Blakey and later moved on to play with Charles Lloyd and Miles Davis.” (en.wikipedia.org)
• Art Blakey. Establishes Jarrett's early collaboration with Art Blakey. “Art Blakey hired Jarrett to play with The Jazz Messengers.” (Wikipedia)
• The Jazz Messengers by Art Blakey. Jarrett was a member of The Jazz Messengers. “Art Blakey hired Jarrett to play with The Jazz Messengers.” (Wikipedia)
• Charles Lloyd Quartet by Charles Lloyd. Jarrett joined the Charles Lloyd Quartet. “who recommended Jarrett to his band leader Charles Lloyd” (Wikipedia)
• Charlie Haden. Trio collaboration with Charlie Haden and Paul Motian. “Jarrett began to record his own tracks as a leader of small groups, at first in a trio with Charlie Haden and Paul Motian.” (Wikipedia)
• Paul Motian. Trio collaboration with Paul Motian. “Jarrett began to record his own tracks as a leader of small groups, at first in a trio with Charlie Haden and Paul Motian.” (Wikipedia)
• Dewey Redman. Dewey Redman became a member of Jarrett's American quartet. “the trio was augmented by saxophonist Dewey Redman” (Wikipedia)
• ECM Records by Manfred Eicher. Jarrett began recording for ECM Records under Manfred Eicher. “Jarrett received a letter from producer Manfred Eicher asking if he would like to record for the relatively new ECM label.” (Wikipedia)
• Jan Garbarek. Collaboration forming Jarrett's European quartet with Jan Garbarek. “Eicher proposed that Jarrett work with Norwegian saxophonist Jan Garbarek, whom Jarrett had met while in Europe with Charles Lloyd during the late 1960s.” (Wikipedia)
• Palle Danielsson. Member of Jarrett's European quartet. “which also featured Palle Danielsson on bass and Jon Christensen on drums” (Wikipedia)
• Jon Christensen. Member of Jarrett's European quartet. “which also featured Palle Danielsson on bass and Jon Christensen on drums” (Wikipedia)
• Tales of Another by Gary Peacock. Jarrett worked on Peacock's earlier album prior to forming the trio. “with whom he had worked on Peacock's 1977 album Tales of Another” (Wikipedia)
• Syracuse Symphony. Jarrett collaborated with the Syracuse Symphony on The Celestial Hawk. “Jarrett performed and recorded with the Syracuse Symphony under Christopher Keene.” (Wikipedia)
• Lousadzak by Alan Hovhaness. Jarrett performed Hovhaness's piano concerto Lousadzak. “Jarrett performing the solo piano part in Lousadzak, a 17-minute piano concerto by American composer Alan Hovhaness.” (Wikipedia)
• Be My Love by Sammy Cahn. Jarrett recorded a piano rendition of the song 'Be My Love,' with lyrics by Sammy Cahn. “Well, the lyrics are by Sammy Cahn on this. Well, I love what you've done with it.” (Fresh Air Archive (NPR))
• Be My Love by Mario Lanza. Jarrett records a version of the song most associated with Mario Lanza's performance. “this is a song, really, associated with Mario Lanza. Did you like his recording of it?” (Fresh Air (NPR/WHYY))
• Wayne Shorter. Jarrett places Wayne Shorter within the Miles Davis band context surrounding his own tenure. “before it went more electric with Tony Williams and Wayne and Herbie--Wayne Shorter, Herbie Hancock--and maybe Dave Holland, maybe Ron Carter.” (Fresh Air (NPR/WHYY))
• Mozart. Jarrett recorded a 1999 album of music composed by Mozart. “let's listen to his 1999 CD of music by Mozart.” (Fresh Air (NPR/WHYY))
• George Schuller (1958). Schuller's quintet covers Keith Jarrett's 1970s compositions without piano. “Play some of those catchy tunes Keith Jarrett wrote in the 1970s and play that pianist's music without a piano” (Fresh Air (NPR))
• Dennis Russell Davies (1944). Dennis Russell Davies recorded Jarrett's composition Ritual. (via Ritual) “Ritual (1977) is a composed solo piano piece recorded by Dennis Russell Davies that is somewhat reminiscent of Jarrett's own solo piano recordings.” (Wikipedia)
• Duster by Gary Burton (1967). Duster (Gary Burton) — geography for Keith Jarrett “Burton has played with a wide variety of jazz musicians, including Gato Barbieri, Carla Bley, Chick Corea, Peter Erskine, Stan Getz, Hank Garland, Stephane Grappelli, Herbie Hancock, Keith Jarrett, B.” (en.wikipedia.org)
• Blues for Smoke by Jaki Byard (1960). Blues for Smoke (Jaki Byard) — geography for Keith Jarrett (musicbrainz.org)
• Sky Dive by Freddie Hubbard. Jarrett performed on Freddie Hubbard's album Sky Dive.
• Etruscan Concerto by Peggy Glanville-Hicks. Jarrett performed Glanville-Hicks's Etruscan Concerto.
• Straight, No Chaser by Thelonious Monk. Jarrett's trio performed Monk's composition as their final encore.
• Basin Street Blues. Jarrett's trio performed a version of the standard Basin Street Blues.

Who Keith Jarrett influenced

• Mostly Martha. The film Mostly Martha used Jarrett's music from My Song. (via My Song, Tribute) “features Jarrett's "Country" from the European quartet album My Song and "U Dance" from the Standards Trio album Tribute, as well as excerpts from Jarrett's solo concerts” (Wikipedia)
• The Sopranos by David Chase (1999). The Sopranos references Keith Jarrett's music. “Tony Blundetto mentions "piping in a little Keith Jarrett" among his plans for the massage studio he is building.” (Wikipedia)
• Steely Dan (1972). Fagen admitted Gaucho's title track was influenced by Jarrett's composition. (via Long As You Know You're Living Yours) “Fagen said they had been influenced by it.” (Wikipedia)
• Köln 75. The film Köln 75 dramatizes Jarrett's Köln Concert. (via The Köln Concert) “A 2025 feature film, Köln 75, tells the story of Jarrett's 1975 concert at the Köln Opera House.” (Wikipedia)
• The Art of the Trio, Volume One by Brad Mehldau (1997). The Art of the Trio, Volume One (Brad Mehldau) — legacy for Keith Jarrett “Keith Jarrett's Bremen/Lausanne helped Mehldau realize the potential of the piano as an instrument.” (en.wikipedia.org)
• Changing Places by Tord Gustavsen (2003). Changing Places (Tord Gustavsen) — legacy for Keith Jarrett