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Analytic, Descriptive, and Prescriptive Components of Evolving Jazz: a New Model Based on the Works of Brad Mehldau

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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. Your encouragement, wisdom and support have been invaluable to me. Thanks to Brad Mehldau, Larry Grenadier, Jorge Rossy, Matt Chamberlain, Joshua Redman and Jeff Ballard for your truly inspirational music. It has been a real pleasure exploring your improvisations and interactions; through your music I have come to understand more about jazz, music and myself. For that alone, I am truly grateful. Last but not least I would like to thank my wife Arian, for her constant support and belief in me. The last four years have been a wild ride, and she has always found a way to understand the need for me to lock myself in the study. Cups of tea, sandwiches and emotional support were almost always free flowing; one degree and two children later and we are still smiling! iv Table of Contents Abstract .................................................................................................................................................. iii Acknowledgements ................................................................................................................................ iv List of Figures ........................................................................................................................................ xi List of Tables ........................................................................................................................................ xiv Chapter 1. Introduction ......................................................................................................................... 15 1.1. About the Researcher ................................................................................................................. 15 1.2. Exegesis ...................................................................................................................................... 16 1.3. Chapter Outline .......................................................................................................................... 16 Chapter 2. Background/Literature ......................................................................................................... 19 2.1. Who Is Brad Mehldau? .............................................................................................................. 19 2.2. What Is Mehldau’s Musical Contribution to Jazz Music? ......................................................... 20 2.2.1. Redefinition of Left and Right Hands ................................................................................. 20 2.2.2. Expansion of Trio Repertoire .............................................................................................. 20 2.2.3. Rhythmic Phrasing .............................................................................................................. 21 2.2.4. Freedom from Cliché .......................................................................................................... 22 2.3. Why Study Mehldau? ................................................................................................................. 22 2.4. Annotated Discography .............................................................................................................. 22 2.4.1. Mehldau, B. (1995). Introducing Brad Mehldau/The Brad Mehldau Trio. ........................ 22 2.4.2. Mehldau, B. (1997). The Art of the Trio. Volume One/The Brad Mehldau Trio. ............... 23 2.4.3. Mehldau, B. (1998). The Art of the Trio. Volume Two/The Brad Mehldau Trio. ............... 23 2.4.4. Mehldau, B. (1998). The Art of the Trio. Volume Three/The Brad Mehldau Trio. ............. 23 2.4.5. Mehldau, B. (1999). Elegiac Cycle/Brad Mehldau Solo Piano. ......................................... 23 2.4.6. Mehldau, B. (1999). The Art of the Trio. Volume Four/The Brad Mehldau Trio. .............. 24 2.4.7. Mehldau, B. (2000). Places/The Brad Mehldau Trio. ........................................................ 24 2.4.8. Mehldau, B. (2001). The Art of the Trio. Volume Five/The Brad Mehldau Trio. ............... 24 2.4.9. Mehldau, B. (2002). Largo/Brad Mehldau. ........................................................................ 24 2.4.10. Mehldau, B. (2004). Anything Goes/The Brad Mehldau Trio. ......................................... 24 2.4.11. Mehldau, B. (2004). Live in Tokyo/Brad Mehldau Solo Piano. ........................................ 25 2.4.12. Mehldau, B. (2005). Day Is Done/The Brad Mehldau Trio. ............................................. 25 2.4.13. Mehldau, B. (2006). House on Hill/The Brad Mehldau Trio. ........................................... 25 2.4.14. Mehldau, B. (2008). Brad Mehldau Trio Live/The Brad Mehldau Trio. .......................... 25 2.4.15. Mehldau, B. (2010). Highway Rider/Brad Mehldau. ........................................................ 25 2.4.16. Mehldau, B. (2011). Live in Marciac/Brad Mehldau Solo Piano. .................................... 26 v 2.4.17. Album Summary ............................................................................................................... 26 2.5. Analysis of the Music of Brad Mehldau .................................................................................... 27 2.6. Model of Consonance and Dissonance ...................................................................................... 29 2.7. Music and the Psychology of Expectation: Huron ..................................................................... 30 2.7.1. ITPRA ................................................................................................................................. 31 2.7.2. Imagination Response and Tension Response .................................................................... 31 2.7.3. Prediction Response/Effect ................................................................................................. 31 2.7.4. Reaction Response and Appraisal Response ....................................................................... 32 2.7.5. Contrastive Valence/Limbic Contrast ................................................................................. 32 2.7.6. PRA ..................................................................................................................................... 33 2.8. Limitations of Exegesis .............................................................................................................. 33 2.9. Research Intentions .................................................................................................................... 35 Chapter 3. Methodology ........................................................................................................................ 37 3.1. Introduction ................................................................................................................................ 37 3.2. Theory ........................................................................................................................................ 37 3.3. Selection Process ........................................................................................................................ 37 3.3.1. Initial Selection ................................................................................................................... 37 3.3.2. Primary Listen ..................................................................................................................... 39 3.3.3. Secondary Listen ................................................................................................................. 40 3.3.4. Third Listen ......................................................................................................................... 42 3.3.5. Initial Observations ............................................................................................................
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