![]() ![]() ![]() This became a critical decision in the development of his own unique sound on the Art of the Trio series. In the author's opinion, Mehldau at some point must have made a decision to incorporate `classical' stylistic methods into his jazz work. Working with such stellar jazz players early on in his career, must certainly have helped Mehldau to hone his already highly developed skills, particularly the rhythmic study he undertook with Cobb. He made a number of recordings as sideman to Peter Bernstein, Mark Turner, Chris Potter, Joshua Redman, Jesse Davis and many others, before going on to lead his own group (Libman, 2003). 2 Methodology In examining the main stylistic features and influences in Mehldau's music, numerous recordings were listened to, journal articles and internet web sites were consulted, and email interviews were conducted with Mehldau himself. Mehldau is also provocative and insightful in his beliefs and written essays. He has an ability and affinity with the various touches on the instrument, a familiarity with a large portion of classical, jazz and pop repertoire, and also an affinity with Germanic culture. Mehldau develops new approaches to old standards, and is constantly pushing the boundaries of his audiences' expectations, with his ever-searching spirit, and compositional originality. It is also emotional, virtuosic, innovative, intense, and draws its inspiration from many differing sources, as will be examined in this paper. Mehldau's music is intellectual and he makes sure his audience knows it, (Doerschuk, 2001). It became immediately apparent that this subject would provide very fertile ground for investigation, particularly given that there is little published research on this music. I would especially like to thank Brad Mehldau, for the music he writes and records, and for all his communications via e-mail during the course of this study. Acknowledgements I would like to thank the following people for their assistance in preparing this paper: Norman Meehan, Julie Coulson, Leigh Jackson, Charmaine Ford, and Simon Tipping. In this paper, four compositions and improvisations will be examined, in terms of compositional and improvisational devices, and in regard to their `classical' connections and influences. Mehldau's approach to piano playing is of interest to students of jazz piano, particularly advanced students, and his compositions are of interest to students of composition, jazz performers and audiences alike. While Mehldau is setting the standards among the new generation of jazz pianists, few have access to some of the fundamental stylings that make his music unique. Read mackenzie.pdf text version Kirsten MacKenzies article on Brad Mehldau The purpose of this research is to increase the body of knowledge on the subject of Brad Mehldau's music. ![]()
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