Brad Mehldau had a great success in the 1990s when he was very young. Classically-trained pianist but soon converted to jazz, he attended the New School of Social Researches in New York and his teachers were Fred Hersch, Kenny Werner and the drummer Jimmy Cobb. He released his first album called Introducing in 1995, a manifesto of his following works in trio. In 1999, he conceived Elegiac Cycle, a solo album, unusual, vaguely impressionist, post-modern, minimal, where you retrace the classic influences that impregnate his music culture. With Lie in Tokyo he proves his wisdom as a solo, and the American jazz magazine “Down Beat” praises his art giving him the award as best jazz pianist of 2004. Mehldau is often compared to Bill Evans but he doesn’t like it, as he himself explains when introducing The Art of the Trio IV. Compared also to Keith Jarrett, he describes Jarrett’s solo works more as an inspiration rather than an influence. His classic roots are clear and often he plays a different melody with each of his hands, in unusual metres like 5/4 and 7/4. Nobody, in these latest years, has revolutionized the jazz piano scene like Mehldau. No one apart him can condense in one single unique style the harmonic refinement, the introspective search and the choral polyphony, resulting from his constant dedication to Bach music, and his natural creativity. His technique is unbelievable, he not only accompanies but constantly offers a real dialogue with the main melody put in place, creating always new chances arising on their own and conveying polyphonic sense to the song.
Larry Grenadier double bass
Jeff Ballard drums