Brad Mehldau

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ELPHI_Logo_Bild- marke_1C_W BRAD MEHLDAU ERÖFFNUNGSFESTIVAL 16.1.2017 | 20 UHR ELBPHILHARMONIE GROSSER SAAL BRAD MEHLDAU »Introducing Brad Mehldau« nannte er 1995 sein erstes Soloalbum. Ziel erreicht. Heute genügt in der Regel schon der Vorname, um zustimmendes Nicken bei Jazzfans auf der ganzen Welt auszulösen. Als der amerikanische Pianist Mitte der Neunziger die internationale Jazzbühne betrat, rieben sich nicht wenige die Augen: jung, tätowiert, unangepasst – Brad Mehldau entsprach so gar nicht dem damaligen Bild des vornehmen Jazzmusikers. Und auch sein Sound war anders: Er interessierte sich für Klassik und modernes Pop-Repertoire und eröffnete dem Jazzpiano dadurch neue Wege. Mit Larry Grenadier am Bass und Jorge Rossy – später Jeff Ballard – am Schlagzeug erlangte sein Trio weltweit Beachtung; am 9. Mai kehrt Brad Mehldau mit dieser Besetzung in die Elbphilharmonie zurück. Daneben spielte er mit Jazzgrößen wie Joshua Redman, Pat Metheny und Wayne Shorter und blieb stets offen für andere musikalische Genres: So produzierte er CDs mit den Opernsängerinnen Anne Sofie von Otter und Renée Fleming und wirkte bei einem Album des Coun- try-Sängers Willie Nelson mit. Für seine neueste Platte trifft er auf den Mandolinen-Star Chris Thile. Brad Mehldaus musikalische Persönlichkeit unterliegt einer Spaltung: Auf der einen Seite ist er ein Improvisationstalent, er liebt die Über- raschung, die spontane musikalische Idee. Andererseits fasziniert ihn die formelle Architektur von Musik. Dies beweist auch sein aktuelles Projekt »Three Pieces After Bach«: Darin setzt Mehldau seine Jazz- improvisationen in Beziehung zu Kompositionen des barocken Groß- meisters und schafft damit wie kein Zweiter eine Harmonie zwischen gestern und heute. Im vergangenen Jahr veröffentlichte Mehldau die CD-Box »10 Years Solo Live« mit 19 Aufnahmen aus unterschiedlichen Konzerten. »Es ist eigentlich eigenartig, dieses ganze Geschehen um die Live-Auftritte«, meint er im Album-Booklet. »Es ist eine direkte und sehr intensive Form der Empathie mit einer Gruppe von völlig fremden Menschen, die ungefähr 90 Minuten dauert. Und dann ist es vorbei und alle gehen nach Hause. Es ist etwas passiert, aber das Wichtige daran kann man nicht wirklich in Worte fassen.« BRAD MEHLDAU PIANO TIPP: ANKE HELFRICH TRIO Nicht nur in der Elbphilharmonie spielt die Musik – auch in der Laeisz- halle können Sie weiterhin großen Jazz erleben. Beispielsweise, wenn Anke Helfrich in der Reihe »Jazz Piano« ihr neues Album »Dedication« vorstellt. Gewidmet ist es wichtigen Menschen in ihrem Umfeld, aber auch großen Vorbildern wie Nelson Mandela und Martin Luther King. Damit erweist sich die in Deutschland und Namibia aufgewachsene, in Amsterdam und New York ausgebildete Anke Helfrich, die 2016 mit dem Echo Jazz als beste deutsche Jazzpianistin des Jahres geehrt wurde, einmal mehr als Weltbürgerin mit Vision. Das Magazin Jazz- thetik war begeistert: »Ein Donnerschlag, eine Hymne an das Leben.« Mittwoch, 15. März 2017 20 Uhr | Laeiszhalle Hamburg Kleiner Saal Principal Sponsors Förderer des Eröffnungsfestivals.

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Analytic, Descriptive, and Prescriptive Components of Evolving Jazz: a New Model Based on the Works of Brad Mehldau
Analytic, Descriptive, and Prescriptive Components of Evolving Jazz: A New Model Based on the Works of Brad Mehldau Mark Edward Baynes An exegesis submitted in partial fulfilment of the requirements for the degree of Doctor of Musical Arts The University of Auckland 2015 ii Abstract Jazz has steadily evolved from its inception in the late 19th century to the present. As is the case for other genres, musicological analytic research on jazz evolution has lagged behind its practice; consequently, there is a paucity of in-depth descriptive and analytic research on the music of recent innovators. Among the most recent examples of this evolution, the works of Brad Mehldau as a solo/ensemble pianist and as a composer arguably embody some of the most compelling innovations in the field. Non-academically oriented jazz writers and fans have consistently assigned these works vanguard status, but Mehldau’s output has not yet been sufficiently examined to prescribe performance methods. This exegesis contains (1) descriptive analysis of improvisation contained within a broad cross-section of Mehldau’s music; (2) definition of a new analytical lexicon derived from a holistic study of consonance, dissonance, and research into perceived motivation in music; and (3) prescriptive musical tools relating to consonance and dissonance that have informed the researcher’s performance. iii Acknowledgements I would like to express my special thanks to Dr David Lines, Associate Professor W. Dean Sutcliffe, Dr Davinia Caddy, Kevin Field, Dr Mark Kramer, Gary Burton, Jo Shum, Steve Harvie, Alex Freer, Tom Dennison, Dixon Nacey, Nick Marsh, Jason Orme, Chrissie Hart, Hadyn Godfrey, Chris Mason-Battley, Phil Broadhurst, Kim Paterson, Tom Rainey, Mike Booth and Stephen Morton-Jones.
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Brad Mehldau's Approach to Orchestration at the Piano in a Trio Setting As Demonstrated On
Edith Cowan University Research Online Theses : Honours Theses 2014 Brad Mehldau’s approach to orchestration at the piano in a trio setting as demonstrated on “August Ending” (2004) and “Secret Beach” (2006) Gabriel Fatin Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Music Commons Recommended Citation Fatin, G. (2014). Brad Mehldau’s approach to orchestration at the piano in a trio setting as demonstrated on “August Ending” (2004) and “Secret Beach” (2006). https://ro.ecu.edu.au/theses_hons/186 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/186 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Use of Thesis This copy is the property of Edith Cowan University. However the literary rights of the author must also be respected. If any passage from this thesis is quoted or closely paraphrased in a paper or written work prepared by the user, the source of the passage must be acknowledged in the work.
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05 5 $4.99 DownBeat.com 09281 01493 0 MAY 2010MAY U.K. £3.50 001_COVER.qxd 3/16/10 2:08 PM Page 1 DOWNBEAT MIGUEL ZENÓN // RAMSEY LEWIS & KIRK WHALUM // EVAN PARKER // SUMMER FESTIVAL GUIDE MAY 2010 002-025_FRONT.qxd 3/17/10 10:28 AM Page 2 002-025_FRONT.qxd 3/17/10 10:29 AM Page 3 002-025_FRONT.qxd 3/17/10 10:29 AM Page 4 May 2010 VOLUME 77 – NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
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September 26, 2016 Jazz Album Chart
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Jazz at the Lobero Presents Brad Mehldau Saturday, October 28 at 8 PM
FOR IMMEDIATE RELEASE Media: Angie Bertucci 805.679.6010 / [email protected] Tickets: Lobero Box Office 805.963.0761 / lobero.org Jazz at the Lobero presents Brad Mehldau Saturday, October 28 at 8 PM Celebrated pianist to perform in solo format, and will play selections from his diverse catalog Part of the Jazz at the Lobero Fall Series Santa Barbara, CA, October 11, 2017 – Jazz at the Lobero welcomes Brad Mehldau back to the Lobero Theatre on Saturday, October 28 at 8 PM as part of the Jazz at the Lobero Fall series. Brad Mehldau will perform solo in an evening highlighting his dexterity as an artist who crosses from jazz into classical and pop music with ease. He is one of the most lyrical and intimate voices of contemporary jazz piano, forging a unique path that embodies the essence of jazz exploration, classical romanticism and pop allure. Closing out this series will be 10 Time GRAMMY® Award Winner Arturo Sandoval on Dec 6, a disciple of Dizzy Gillespie who mixes in elements of his Cuban upbringing into his exciting live shows. Mehldau’s musical personality forms a dichotomy. He is first and foremost an improviser, and greatly cherishes the surprise and wonder that can occur from a spontaneous musical idea that is expressed directly, in real time. But he also has a deep fascination for the formal architecture of music, and it informs everything he plays. In his most inspired playing, the actual structure of his musical thought serves as an expressive device. As he plays, he listens to how ideas unwind, and the order in which they reveal themselves.
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Nomination Form International Memory of the World Register
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Highway Rider"
An Imaginary Musical Road Movie : Transmedial Semiotic Structures in Brad Mehldau's Concept Album "Highway Rider" Arvidson, Mats 2016 Link to publication Citation for published version (APA): Arvidson, M. (2016). An Imaginary Musical Road Movie : Transmedial Semiotic Structures in Brad Mehldau's Concept Album "Highway Rider". (Lund Studies in Arts and Cultural Sciences; Vol. 10). Lund Studies in Arts and Cultural Sciences. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 An Imaginary Musical Road Movie An Imaginary Musical Road Movie revolves around two integrated objects: on the one hand, the programmatic and cyclic concept album Highway Rider (2010), which is jazz pianist and composer Brad Mehldau’s most complex instrumental work, and on the other hand transmediality, both as a concept and phenomenon.
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Joshua Redman/Brad Mehldau
JOSHUA REDMAN/BRAD MEHLDAU DUO Friday, September 23, 2016, at 7:30pm Tryon Festival Theatre THE ACT OF GIVING OF ACT THE THANK YOU TO THE SPONSORS OF THIS PERFORMANCE PROGRAM Krannert Center honors the spirited generosity of these committed sponsors whose support JOSHUA REDMAN/BRAD MEHLDAU DUO of this performance continues to strengthen the impact of the arts in our community. Joshua Redman, saxophone Brad Mehldau, piano * * The program will be announced from the stage. This performance will last for approximately 90 minutes and will be presented with no intermission. Saxophonist Joshua Redman and pianist Brad Mehldau first performed together in Redman’s renowned quartet which gained prominence during the ‘90s “young jazz lion” period. Over the next two decades, both Grammy-nominated musicians grew as extraordinary leaders in their own ensembles, reaching international and critical acclaim while forging their own distinctive voices as modern-day icons in the ALICE & JAMES FARON JANICE BAHR & ERWIN HOFFMAN jazz/contemporary music vernacular. In 2011, the two finally converged their shared musical genius, First-Time Sponsors First-Time Sponsors skill, and simpatico to unequivocal critical acclaim. Two Current Sponsorships In 2016, by popular demand, Redman and Mehldau renew their longstanding musical relationship and join as an intimate duo creating music that swings and deeply connects to the spirit. A new live album from their recent European tour was released on Nonesuch Records in September 2016. LISA & MARK KLINGER ANONYMOUS Three Previous
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Dominican Republic Jazz Festival @ 20
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Brad Mehldau French Biography / Program Notes
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The Folly O F Desire —
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