62 results for "Brad Mehldau" between $0 and $130

Awarded Berklee College of Music's Best All-Around Musician award while still a junior in high school, young star Brad Mehldau has been rising ever since. This collection features note-for-note transcriptions of six songs brilliantly interpreted by this jazz piano man: Bewitched * I Didn't Know What Time It Was * Nobody Else but Me * Prelude to a Kiss * Sehnsucht * Unrequited. Includes a biography and a discography.

The dozen tracks on the double-disc set, produced by Mehldau, were recorded at the Village Vanguard over four evenings, from October 11 to October 15, 2006. New York Times ' critic Nate Chinen was there on opening night and called the set "a marvel of concentration and restraint...On a brisk new original called 'Ruby's Rub,' the trio applied a simmering heat of the sort that once propelled Miles Davis's mid-1960's rhythm section, which featured Herbie Hancock on piano and Tony Williams on drums....

Moving ever closer to becoming his generation's Keith Jarrett, "Live in Tokyo" finds pianist Brad Mehldau delving into a solo piano performance in February of 2003 with a quiet intensity, mixing a kind of studied jazz formalism with a lyrical "train-of-thought" avant-gardism. Ever the iconoclast, Mehldau tackles such varied compositions as Nick Drake's "Things Behind The Sun," Thelonious Monk's "Monk'S Dream," a couple Gershwin standards, and Radiohead's "Paranoid Android." Clocking in at almost...

Mehldau also has played on a number of recordings outside of the jazz idiom, like Willie Nelson’s Teatro and singer-songwriter Joe Henry’s Scar. His music has appeared in several movies, including Stanley Kubrick’s Eyes Wide Shut and Wim Wender’s Million Dollar Hotel. He also composed an original soundtrack for the French film, Ma Femme Est Une Actrice. Mehldau recently composed two new works commissioned by Carnegie Hall for voice and piano, The Blue Estuaries and The Book of Hours: Love Poems to...

I used to love Mehladu's music. I have to say that this record does not like me. The defect about the past Brad's work was the limitation of the trio group, a form where Jarret and Evans done so much and so well. But these works were very good, although poor of revolutionary idea. In "Largo" Mehldau tried new horizons, but the final isnt so good, in my opinion. I am sure that in the future, when he can take a balance between new and old, he can do it great.

Following up on the meeting of the progressive-jazz minds that took place on Pat Metheny and Brad Mehldau's mostly-duets album METHENY/MEHLDAU, the forward-looking pair expand their partnership to include a rhythm section on most of the songs. In this format, Metheny and Mehldau bring out the best in each other; simultaneously providing a framework for gorgeously melodic lines and egging one another on to the outskirts of improvisation.

Brad Mehldau is becoming a more interesting, more thought-provoking, more individualistic musician with each release -- breaking away from the same old models, finding new ones to integrate into his own personality. The 11 compositions on this CD were conceived on the road, and only midway through did Mehldau realize that they developed similar ideas. Which indeed they do, seizing upon repeated riffing and vamps that Keith Jarrett has explored and sending them in cogent directions. The designated...

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