"Modern Music," Collaboration Between Brad Mehldau & Kevin Hays, Composer/Arranger Patrick Zimmerli, Available for Pre-Order
As announced last month, Modern Music, a collaboration between pianists Brad Mehldau and Kevin Hays and composer/arranger Patrick Zimmerli, will be released by Nonesuch on September 20. Now comes the album's cover, which features American Modernist painter Charles Sheeler's Classic Landscape. The album is available for pre-order in the Nonesuch Store with an instant download of the title track included at checkout. All About Jazz, reviewing Mehldau's latest solo album, Live in Marciac, raves: "It's a stunning document that somehow manages to satisfy the most basic melodic appetites while still confounding conventional understanding of human capability."
As announced last month in the Nonesuch Journal, Modern Music, a collaboration between pianists Brad Mehldau and Kevin Hays and composer/arranger Patrick Zimmerli, will be released by Nonesuch Records on September 20, 2011. Now comes the album's cover, pictured at left, which features American Modernist painter Charles Sheeler's 1931 work Classic Landscape and a design by John Gall. The album includes pieces written by each of the three musicians as well as works by Steve Reich, Ornette Coleman, and Philip Glass, performed by the two pianists in arrangements by Zimmerli. It is available for pre-order now in the Nonesuch Store with an instant download of the title track included at checkout.
This collaboration grew out of the long-standing desire of Mehldau and Hays, friends and colleagues since they both arrived on New York’s jazz scene in the late 1980s, to work together. Both musicians initially came to prominence with stints in early-1990s lineups of Joshua Redman’s quartet before launching successful careers as solo performers and band leaders.
Zimmerli, a mutual old friend, grew up in West Hartford, CT, playing saxophone in the same high school jazz program as Mehldau, who was two years younger. He knew Hays, also a Connecticut native, through music competitions. Zimmerli went on to study composition and has had great success in the contemporary-classical world. Brought into the collaboration as producer, he became the catalyst for the Modern Music sessions, offering repertoire ideas and presenting creative challenges that took Hays and Mehldau well out of their familiar turf.
After moving back east to upstate New York from New Mexico, Hays “dragged an electric piano over to Brad’s house, and we just gave it a go,” as he says. “The project kind of started there.” Among the 20th-century works Zimmerli suggested were Reich’s Music for 18 Musicians and Glass’s String Quartet No. 5.
Additionally, Zimmerli explains, “We had always planned to include a jazz standard, and after some discussion we decided on Lonely Woman, a tune I’ve always loved, and one for which I had an idea for a big, piano-spanning 20-note-chord approach to the melody. I worked in some minimalist-like motifs in the blowing to keep the arrangement in the spirit of what’s around it.
“We also wanted one original piece each, so I wrote Modern Music, and Brad and Kevin both chipped in preexisting pieces, Unrequited and Elegia, both beautiful melodies with lovely chord changes,” he continues. Three more originals by Zimmerli would eventually be added: Crazy Quilt, Generatrix, and Celtic Folk Melody.
Hays adds, “Patrick’s music is highly structured; the solos are generally a set length, but we opened it up a little. The development comes more through improvisation on Brad’s piece and mine; they’re more like lead sheets.”
Mehldau agrees: “The improvisation was often not in our comfort zone—that is to say, usually, when a jazz musician improvises, he is working intuitively, allowing his intellect to be suspended for a while. This project was different, because Pat set up some unique challenges for us. One example among many: On Modern Music there’s a part that calls for us to improvise in the right hand while playing something written in the left hand. Sounds easy enough on paper, but it proved a real challenge for both of us.”
Zimmerli suggested a recording location with excellent acoustics—Mechanics Hall in Worcester, MA—where they recorded Modern Music last fall. Selections from the album were included in a spring 2011 program, Brad Mehldau and Friends, at Zankel Hall as part of Mehldau’s Carnegie Hall residency.
Mehldau's latest solo album, the Live in Marciac CD/DVD released earlier this year, is reviewed in today's All About Jazz. Placing Mehldau among "the most virtuosic instrumentalists," reviewer Kevin Davis says that "rarely has his gift been displayed as centrifugally as it is on Live in Marciac ... It's a stunning document that somehow manages to satisfy the most basic melodic appetites while still confounding conventional understanding of human capability."
Davis goes on to say: "Most pianists play differently by themselves than they play in groups; Mehldau all but literally transmogrifies his left hand into two other living, breathing band members."
Read the complete review at allaboutjazz.com.
To pick up a copy of Live in Marciac on CD/DVD and received high-quality, 320 kbps MP3s of the music at checkout, and to pre-order Modern Music with an instant download of the title track, head to the Nonesuch Store now.
Mehldau's next live performance is slated for the end of the month when he offers a solo set at Tanglewood's Seiji Ozawa Hall in Lenox, Massachusetts. For more information on this and other upcoming performances, visit nonesuch.com/on-tour.
Friday, February 10, 2017Friday, February 10, 2017
Rhiannon Giddens's five-song EP Factory Girl, first released on vinyl and digitally in late 2015, is now available on CD for the first time. The EP, which is up for Grammy Awards for Best American Roots Performance and Best Folk Album, is culled from the T Bone Burnett–produced sessions that yielded Giddens's acclaimed solo debut album, Tomorrow Is My Turn. "It's a clutch of tunes that work together like the cards in a winning poker hand," the New York Times says of Factory Girl. "Her accompaniment … points to an ageless gold standard for American roots music." "Deftly curated, gorgeously sung," says NPR, "this EP is America." Her new album, Freedom Highway, is due February 24.
Friday, February 10, 2017Friday, February 10, 2017
The Staves, who kick off a four-week tour of North America next week, release the double A side "Tired As Fuck," a previously unreleased tune, and "Train Tracks," a re-mastered version of a bonus track from their 2015 album If I Was. The former was "written in the midst of a relationship breaking down," says the trio. "Lamenting the lack of some sort of guidance, but also accepting and resigning yourself to fact that you have to soldier on. Keep going. There is no helping hand. 'Train Tracks' is the beginning of something new and how confusing and difficult that can be when you're really just as clueless as anyone! The two tracks bookend each other in that respect." You can watch a video for "Tired As Fuck" here.