Customer Reviews

The Art Of The Trio, Vol. 4 - Back At The Vanguard

5 star:		(21)
4 star:		(5)
3 star:		(3)
2 star:		(0)
1 star:		(1)

 

 

I have been following Brad Mehldau's music through recordings from the start and recommended to a friend of mine that she see him at the Vanguard when the present recording was made. The young firebrand is always a healthy thing in art but when its end product is technique for its own sake, that's a step backward. For me that's what is going on here, there are wonderfull moments, but too many notes, too much posturing. The player is not lost in the music. Miles once said to a fellow horn man "to much trumpet and not enough mucic", that about sums it up for me. A note must be added on the liner notes and Mehldau's "I am not Bill Evans" sthick. In spite of Ahmad Jamal, Wynton Kelly and his trio etc... It's obvious that the modern jazz piano trio was reinvented by Evans, Lafarro and Motian. Every trio after is influenced by those Vanguard recordings and if you don't want to be influenced, certainly do not include Solar which was a feature of the Evans trio.

As a working Jazz pianist myself, I can only say that Brad Mehldau does everything I dream of, and even more that I've never imagined. With this album in particular, he seems to ascend to even greater heights in his imaginative treatment of both standards and original pieces. "All the Things You Are" in 7/4 is worth (many times over) the price of the CD for the solo playing of each of the members, as well as their trio interaction. I've never heard 7/4 actually swing in such an amazing way. Mehldau's original pieces are beautiful and at times haunting, and it seems that each time he records a song, he and the trio are able to bring something entirely new to the musical table. Not just new solos, but a new approach and freshness rarely heard on even the first outing of compositions for most groups. After probably 40 complete listenings, I can honestly say that the disk is still fresh and (awe) inspiring.

It's no secret that Brad is one of todays most talented pianists. he has a refreshing style,and in my opinion is at his besthen performing live. although some people compare him to Bill evans i do not share their opinion, Mehldau is so far away from Evans, he has his own style , and one can hear the Mehldauanian style from a far. In this briliiant album there are versions of his former works from the art. vol 3 & 1 , and it is one of the best albums i have heard to date. Brilliant! & exciting. A must for every Jazz and Piano lover. Gal.

Over the past few years I have had the pleasure of following all of Brad's work from his earlier recordings such as "Introducing Brad Mehldau" and "Art of the Trio, Vol 1, 2 and 3". Additionally his work on other albums such as Joshua Redman's MoodSwing, where on a somewhat average album he stood out amongst some very talented young musicians. On "Back at the Village Vanguard" much like his earlier release at the Village, he has pushed the trio format to the limit, offering a splendid performance. However this album is not for the novice listener, this album is for the serious listener especially one who plays or enjoys jazz piano. Rhythm, harmony, improvisation, balanced with music that one must feel rather than listen to, this is obviously Mehldau's best work to date. As a long-time fan I highly recommend this recording as it's jazz in it's most reverent presence...feeling..improvisation..harmony..melody..

These guys are a real group, an increasingly rare phenomenon in the jazz scene. One of the great things about this music is that people that are truly skilled in the language of jazz and in improvisation can get together on the spot and create beautiful music. Minimal rehearsal time, or none at all is necessary. However, there is something to be said for the synchronicity that can occur when certain musicians play together for a long time and make a point of getting to know each other's musical vision intimately. Mehldau's trio exemplifies the jazz "group." They work as one unit, playing together and displaying the kind of telepathic improv that infers familiarity.

The very first track, a driving but swinging rendition of "All the Things You Are" in 7/4 is absolutely SICK (sick in a good way). If you are not giggling half way through Brad's solo, then you are just not listening hard enough. This track sets the tone for the whole record. I do not mean to say that the energy stays the same throughout the album, but there is a persistent spirit of adventure - a desire to open up and allow for liberal "play" of ryhthm and harmony. Excitement is the key word here. This music "rocks" for lack of a better term.

If you like butt-kicking, swinging, intense jazz, this record is for you.

The reviewer from Philadelphia should come back down to earth. According to the "reviewer", only the "serious" listener and musician should purchase this CD, it is not for the "novice". DO NOT LET THIS SNOBBERY DISUADE YOU. Mehldau is a truly gifted musician, and this, his fourth volume in The Art of the Trio, is arguably as good as the others. The Trio was definitely "on" this night. Each track is truly a joy to hear, and will give you hours of listening pleasure as you will hear different nuances with each listen. I only wish I could have been there that night. So, if you are familiar with Mehldau, and happen to be a "serious" jazz listener, buy this CD. If you are not, and are simply a "novice" jazz listener, buy this CD, you will not be disappointed in either case.

Meldhau does things that other pianists are seemingly incapable of technically- with both hands.He seems to excel at the problematic, the fast and the tangental (and keeping his place in the music! through 7/4 and rhythmic tranposition). And he brings in classical influences as a truly creative domain, not a contrivance(Exit Music plus previous albums: Places & Elegiac Cycle). And he has incredible stamina. His ballads are often great poetic statements and Jarrett is clearly the biggest influence in this area (not Evans!!)

That being said -the question is- what is really there on this album? Is it technical and rhythmic smoke? Is he capable of melodic,swinging or bluesy playing if he had to? Does he constantly drive his improvisations towards certain speeds or rhythms to feature his particular technical strengths and avoid others? Possibly. I think the jury is out still. I appreciate his voice but can't help wonder if something is missing in all the virtuosity and rhythmic tangents. For example, if I had to compare Evans' Sunday at Village Vanguard Solar with Meldhau's I clearly hear more depth in Evans' quarter note triplet motivic development than in Meldhau's repeated "D" motive on his version. I think Meldhau is clearly stuck for an idea on it and brings everything in his bag of tricks to bring it to a fever pitch. The same might be said for I'll Be Seeing You--which starts with a nice finger poppin tempo and single line melody and gets pretty complicated after it's humble beginnings.

This is definitely a listening exercise. Likable? Hard to say. To my ears he is kicking everything into the same gear. Bring no expectations and you might fare better. He is not a conservative that's for sure and he is bringing new aspects to the jazz piano literature that others have not thought of and perhaps has liberated the genre from its prior models.

Remarkable music. First, there is Meldhau's rendition of "All The Things You Are", a standard in the jazz canon which is often used, as a consequence of its difficult changes, to test a young phenom's musical mettle. Suffice to say that Meldhau meets the challenge head-on and rewrites the book on this thorny chestnut! Second in significance, is an extended piece entitled "Nice Pass", which showcases virtually every facet of Meldhau's breathtaking improvisational artistry and highlights the stunning support provided by Larry Grenadier on bass and Jorge Rossy on drums. Meldhau's extended comments on the CD insert provide an interesting insight into his musical philosophy. All in all, an absolutely indispensable CD!

This CD is the new Standard! Every jazz-musician, specifically jazz-pianist who is seriously involved with improvisation should listen to the way those three guys are t o g e t h e r ! Nothing like this has come to my ears before. OK, more notes were played compared to the other albums of Brad, but this is New Nork. Check out art of the trio #2 and you'll find out there were many notes played on that one, too. That doesn't mean there's any lack of music! The freedom concerning rhythm, melody and harmony - the three basic parameters of music - is outstanding. Listening to it means to fly already. To play like that must be heaven... Hope there's more of that very soon!

Brad Mehldau fans will find a more flamboyant style here than on previous recordings...and I think that it works wonders. While the music retains Mehldau's classic ability to constantly move in and out of the original melody while soloing, here we see it done with fire. The opening track "All The Things You Are" may be the best version of this song I have ever heard. Mehldau constantly reshapes the melodic, harmonic, and rhythmic structure of the piece, all while showing his wondorous technical talents. While other reviewers have described this music as technique for its own sake, I could not disagree more. While Mehldau does not seem as postured or introspective as on other works, he is clearly thinking hard at how to transform each piece while remaining within the bounds of its overall structure, even while doing so with flurries of eight note runs. This album is a "must have" for any Mehldau fan and is an wondorous example of piano trio at its best. It should be on the same shelf as the trios of Evans and Jarrett.