![]() ![]() JUST AS THE PIANO CAN SEEM TO VANISH INTO him, Mehldau himself can vanish into other musicians' purest expressions. ![]() An unusual ability - let's start with that. ![]() If you're a critic, you can go ahead and call him the new Bill Evans or a modern Romantic, or focus on his interpretations of several generations' standards and forget about his own composing - but the guy has already headed you off with more sophisticated analytical apparatus. Second: Verbally, he can map out his motivations and extrapolate from them like a soul cartographer. Let you straight into his thoughts and emotions. But before he does, a few basic observations he might be too modest to make himself.įirst: Mehldau can connect through a piano. From the source.īut you might think these here grubby pages contain some answers. If you dig that thing called jazz, you will probably want to hear more. You could, for instance, start with his Live at the Village Vanguard: The Art of the Trio Volume Two from 1998, which delivers some of his most direct music and his most playful liner notes. ![]() Since he's got the best answers, you'd better listen to him. Why did he move to Los Angeles, graveyard of jazz, and stay here? How did he lose the needle and find the thread? How did he make it okay to think and feel again? Why is Jerry Seinfeld Satan? There are plenty of questions you could ask about Mehldau. He catches fleeting moments and holds them up - see, this is what it is. Because: He turns old tunes into bright new lamps. You can feel the wire brushes on the snare drum, vibrate to the acoustic bass foundation, and hear inside the bell of Miles’ trumpet.Ī long way from the sterile world of the computer recordings of today.YEAH, HE'S PRETTY QUIET. Recorded at Columbia Studio in NYC in two days, the sound of the room plays in the vibe. Miles comes back in for several choruses, followed by piano, bowed bass and a final cymbal ping.Ī huge part of these recordings is the sound of the studio. Coltrane’s usual ballad mastery is in evidence here as he finds an uplifting melodic path through the chords. It’s a 10 bar repeated cycle that winds itself into your consciousness and leads perfectly to a long, full-body stretch without ever really resolving anywhere, almost canon-like.Īfter the melody is played, soloist Bill Evans, who takes the changes at double time, adds a sense of urgency and motion. Warm and velvety yet persistent and powerful.īlue in Green is the 3 rd track from the best-selling jazz album of all time, Kind Of Blue. This is the perfect open your eyes track. There’s no trumpet sound more recognizable than Miles Davis playing with a mute. ![]()
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