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About Brad Mehldau

4

Live Review

44 Voll-Damm Festival de Jazz de Barcelona: China Moses, Albert Sanz Trio y Brad Mehldau Trio

Read "44 Voll-Damm Festival de Jazz de Barcelona: China Moses, Albert Sanz Trio y Brad Mehldau Trio" reviewed by Enrique Turpin


China Moses44 Voll-Damm Festival Internacional de Jazz de BarcelonaArtèria Paral.lel17 de noviembre de 2013No siempre hacen caso los hijos a los padres. De hecho, no debieran cuando llegan a una edad --padres e hijos--, pero siempre hay excusas para no contrariar a las voces de la experiencia. Una de esas voces se atrevió a recomendar a la joven hija de Dee Dee Bridgewater que se olvidara de seguir por el camino del rap, que “cantaba ...

13

Album Review

Brad Mehldau Trio: Where Do You Start

Read "Where Do You Start" reviewed by John Kelman


Hot on the heels of Brad Mehldau's Ode (Nonesuch, 2012)--the pianist's first all-original set with his current trio--comes Where Do You Start, culled from the same recording sessions but, with the exception of one Mehldau tune, all cover material. This isn't the first time Mehldau has split a particularly fruitful session down the same compositional line: Anything Goes (Warner Bros.) and House on Hill (Nonesuch) were both same from the same sessions, recorded with original drummer Jorge Rossy before he ...

24

Live Review

Brad Mehldau Trio: Denver, CO, May 11, 2012

Read "Brad Mehldau Trio: Denver, CO, May 11, 2012" reviewed by Geoff Anderson


Brad Mehldau TrioNewman CenterDenver, COMay 11, 2012Pianist Brad Mehldau takes jazz seriously. He named his second album as a leader The Art of the Trio (Warner Bros., 1997). But wait, he didn't use that name for just one album; he released five albums, as a series, under that name. Those albums came out from 1997 to 2001 and have recently been reissued in a box set, Art of the Trio Recordings: 1996-2001 (Nonesuch, 2011).

46

Album Review

Brad Mehldau Trio: Ode

Read "Ode" reviewed by Ian Patterson


Seven years separate Ode from this trio's last studio recording, the outstanding Day is Done (Nonesuch, 2005), which has come to mark a before-and-after in Brad Mehldau's trajectory. Previously, the pianist had recorded in a traditional trio setting with few exceptions. Since Day is Done, however, Mehldau's projects have covered much more diverse terrain: setting poetry to music with classical soprano Renée Fleming; rubbing shoulders with guitarist Pat Metheny; and blending classical and popular song with mezzo-soprano Anne Sofie von ...

57

Extended Analysis

Brad Mehldau Trio: Ode

Read "Brad Mehldau Trio: Ode" reviewed by Doug Collette


Brad Mehldau TrioOdeNonesuch Records2012The very first notes of the Brad Mehldau Trio's Ode sound rich, lyrical and full of energy. This may come as a surprise to those unfamiliar with the pianist's work, but loyal followers of Mehldau know he brings an unusual intensity to his work, particularly his solo projects and the collaborations with his trio (currently bassist Larry Grenadier and drummer Jeff Ballard). This, the first studio trio recording since ...

113

Album Review

Brad Mehldau Trio: Ode

Read "Ode" reviewed by John Kelman


The Art of the Trio: Recordings 1996-2001 (Nonesuch, 2011) provided an opportunity to reassess Brad Mehldau's rapid trajectory, though the trio that established him as one of the past two decades' most important pianists was long gone. If Jorge Rossy's replacement in 2005 seemed to open the trio up more, it's perhaps because drummer Jeff Ballard is a more assertive conversationalist, as demonstrated from the get-go on “Knives Out," the first track on Mehldau's debut with this updated incarnation, Day ...

362

Extended Analysis

Brad Mehldau: The Art of the Trio - Recordings 1996-2001

Read "Brad Mehldau: The Art of the Trio - Recordings 1996-2001" reviewed by John Kelman


Brad Mehldau Trio The Art of the Trio: Recordings 1996-2001 Nonesuch Records 2011 It's hard to believe that it's only been fifteen years since Brad Mehldau emerged on the scene, so prevalent and influential has the pianist become since then. At the same time as he was gaining some significant attention for his work with saxophonist Joshua Redman on Moodswing (Warner Bros., 1994), the then 24 year-old pianist had been recruited by Redman's label, ...


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