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  • December 7, 2018

    Congratulations to all of the Nonesuch nominees for the 61st Annual Grammy Awards: David Byrne for American Utopia; Brad Mehldau and his Trio for Seymour Reads the Constitution!; Joshua Redman, Brian Blade, Scott Colley, and Ron Miles for Still Dreaming; Punch Brothers for All Ashore; John Adams for Doctor Atomic; Laurie Anderson and Kronos Quartet for Landfall; and Judith Sherman, up for Producer of the Year, Classical, for her work including Steve Reich's Pulse / Quartet.

  • November 26, 2018

    Jazzwise magazine has published its list of the Top 20 Jazz Albums of 2018, including three Nonesuch releases: Brad Mehldau Trio's Seymour Reads The Constitution!; Joshua Redman's collaboration with Ron Miles, Scott Colley, and Brian Blade, Still Dreaming; and Brad Mehldau's solo album After Bach.

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About Brad Mehldau

  • Jazz pianist Brad Mehldau has recorded and performed extensively since the early 1990s. Mehldau’s most consistent output over the years has taken place in the trio format. Starting in 1996, his group released a series of five records on Warner Bros. entitled The Art of the Trio. Mehldau also has a solo piano recording entitled Elegiac Cycle, and a record called Places that includes both solo piano and trio songs. Elegiac Cycle and Places might be called “concept” albums. They are made up exclusively of original material and have central themes that hover over the compositions. Other Mehldau recordings include Largo, a collaborative effort with the innovative musician and producer Jon Brion, and Anything Goes—a trio outing with bassist Larry Grenadier and drummer Jorge Rossy.

    His first record for Nonesuch, Brad Mehldau Live in Tokyo, was released in 2004. After ten rewarding years with Rossy playing in Mehldau’s regular trio, drummer Jeff Ballard joined the band in 2005. The label released its first album from the Brad Mehldau Trio—Day is Done—in 2005.

    Mehldau’s musical personality forms a dichotomy. He is first and foremost an improviser, and greatly cherishes the surprise and wonder that can occur from a spontaneous musical idea that is expressed directly, in real time. But he also has a deep fascination for the formal architecture of music, and it informs everything he plays. In his most inspired playing, the actual structure of his musical thought serves as an expressive device. As he plays, he listens to how ideas unwind, and the order in which they reveal themselves. Each tune has a strongly felt narrative arch, whether it expresses itself in a beginning, an end, or something left intentionally open-ended. The two sides of Mehldau’s personality—the improviser and the formalist—play off each other, and the effect is often something like controlled chaos.

    Mehldau has performed around the world at a steady pace since the mid-1990s, with his trio and as a solo pianist. His performances convey a wide range of expression. There is often an intellectual rigor to the continuous process of abstraction that may take place on a given tune, and a certain density of information. That could be followed by a stripped down, emotionally direct ballad. Mehldau favors juxtaposing extremes. He has attracted a sizeable following over the years, one that has grown to expect a singular, intense experience in his performance.

    In addition to his trio and solo projects, Mehldau has worked with a number of great jazz musicians, including a rewarding gig with saxophonist Joshua Redman’s band for two years, recording and concerts with Charlie Haden and Lee Konitz, and recording as a sideman with the likes of Wayne Shorter, John Scofield, and Charles Lloyd. For more than a decade, he has collaborated with several musicians and peers whom he respects greatly, including the guitarists Peter Bernstein and Kurt Rosenwinkel and tenor saxophonist Mark Turner. 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 God, which were performed in the spring of 2005 with the acclaimed classical soprano, Renée Fleming. These songs were recorded with Fleming and released in 2006 on the Love Sublime record; simultaneously, Nonesuch released an album of Mehldau’s jazz compositions for trio entitled House on Hill. In March 2007, Mehldau debuted the piano concerto The Brady Bunch Variations for piano and orchestra at Théâtre du Chatelet in Paris with Orchestre National d’Ile-de-France.

Brad Mehldau

Tour

Sat, Mar 16
London
Barbican Hall
Sat, Mar 16
London
Barbican Hall
Sat, Mar 23
Toulouse
Halle aux Grains
Sat, Mar 23
Toulouse
Halle aux Grains
Tue, Mar 26
Lyon
Auditorium Orchestre National de Lyon
Tue, Mar 26
Lyon
Auditorium Orchestre National de Lyon
Wed, Apr 3
Santa Cruz, CA
Kuumbwa Jazz Center
Wed, Apr 3
Santa Cruz, CA
Kuumbwa Jazz Center
Thu, Apr 4
San Francisco, CA
Miner Auditorium, SFJAZZ Center
Thu, Apr 4
San Francisco, CA
Miner Auditorium, SFJAZZ Center
Fri, Apr 5
San Francisco, CA
Miner Auditorium, SFJAZZ Center
Fri, Apr 5
San Francisco, CA
Miner Auditorium, SFJAZZ Center
Sat, Apr 6
San Francisco, CA
Miner Auditorium, SFJAZZ Center
Sat, Apr 6
San Francisco, CA
Miner Auditorium, SFJAZZ Center
Sun, Apr 7
San Francisco, CA
Miner Auditorium, SFJAZZ Center
Sun, Apr 7
San Francisco, CA
Miner Auditorium, SFJAZZ Center
Tue, Apr 9
Columbia, MO
Whitmore Recital Hall
Tue, Apr 9
Columbia, MO
Whitmore Recital Hall
Wed, Apr 10
St. Louis, MO
Jazz St. Louis
Wed, Apr 10
St. Louis, MO
Jazz St. Louis
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on May 29, 2008 - 7:06pm
Sort Name: 
Mehldau
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Biography (Excerpt): 

After Bach comprises Brad Mehldau's recordings of four preludes and one fugue from J.S. Bach's Well-Tempered Clavier, each followed by an After Bach piece written by Mehldau and inspired by its WTC mate. "There have always been elements of Mehldau’s style that recall Bach," writes Timo Andres in the liner note. "After Bach surveys their shared ground as keyboardists, improvisers, and composers, making implicit parallels explicit."

Biography: 

Jazz pianist Brad Mehldau has recorded and performed extensively since the early 1990s. Mehldau’s most consistent output over the years has taken place in the trio format. Starting in 1996, his group released a series of five records on Warner Bros. entitled The Art of the Trio. Mehldau also has a solo piano recording entitled Elegiac Cycle, and a record called Places that includes both solo piano and trio songs. Elegiac Cycle and Places might be called “concept” albums. They are made up exclusively of original material and have central themes that hover over the compositions. Other Mehldau recordings include Largo, a collaborative effort with the innovative musician and producer Jon Brion, and Anything Goes—a trio outing with bassist Larry Grenadier and drummer Jorge Rossy.

His first record for Nonesuch, Brad Mehldau Live in Tokyo, was released in 2004. After ten rewarding years with Rossy playing in Mehldau’s regular trio, drummer Jeff Ballard joined the band in 2005. The label released its first album from the Brad Mehldau Trio—Day is Done—in 2005.

Mehldau’s musical personality forms a dichotomy. He is first and foremost an improviser, and greatly cherishes the surprise and wonder that can occur from a spontaneous musical idea that is expressed directly, in real time. But he also has a deep fascination for the formal architecture of music, and it informs everything he plays. In his most inspired playing, the actual structure of his musical thought serves as an expressive device. As he plays, he listens to how ideas unwind, and the order in which they reveal themselves. Each tune has a strongly felt narrative arch, whether it expresses itself in a beginning, an end, or something left intentionally open-ended. The two sides of Mehldau’s personality—the improviser and the formalist—play off each other, and the effect is often something like controlled chaos.

Mehldau has performed around the world at a steady pace since the mid-1990s, with his trio and as a solo pianist. His performances convey a wide range of expression. There is often an intellectual rigor to the continuous process of abstraction that may take place on a given tune, and a certain density of information. That could be followed by a stripped down, emotionally direct ballad. Mehldau favors juxtaposing extremes. He has attracted a sizeable following over the years, one that has grown to expect a singular, intense experience in his performance.

In addition to his trio and solo projects, Mehldau has worked with a number of great jazz musicians, including a rewarding gig with saxophonist Joshua Redman’s band for two years, recording and concerts with Charlie Haden and Lee Konitz, and recording as a sideman with the likes of Wayne Shorter, John Scofield, and Charles Lloyd. For more than a decade, he has collaborated with several musicians and peers whom he respects greatly, including the guitarists Peter Bernstein and Kurt Rosenwinkel and tenor saxophonist Mark Turner. 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 God, which were performed in the spring of 2005 with the acclaimed classical soprano, Renée Fleming. These songs were recorded with Fleming and released in 2006 on the Love Sublime record; simultaneously, Nonesuch released an album of Mehldau’s jazz compositions for trio entitled House on Hill. In March 2007, Mehldau debuted the piano concerto The Brady Bunch Variations for piano and orchestra at Théâtre du Chatelet in Paris with Orchestre National d’Ile-de-France.

Weight: 
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Facebook URL: 
http://www.facebook.com/BradMehldau
Twitter URL: 
https://twitter.com/bradmehldau
Artist Header Image: 
Artist Card Image: 
Artist Spotlight Image: 
Youtube URL: 
https://www.youtube.com/playlist?list=PL6DDE26AB3466DDA8

Tour

Sat, Mar 16
London
Barbican Hall
Sat, Mar 16
London
Barbican Hall
Sat, Mar 23
Toulouse
Halle aux Grains
Sat, Mar 23
Toulouse
Halle aux Grains
Tue, Mar 26
Lyon
Auditorium Orchestre National de Lyon
Tue, Mar 26
Lyon
Auditorium Orchestre National de Lyon
Wed, Apr 3
Santa Cruz, CA
Kuumbwa Jazz Center
Wed, Apr 3
Santa Cruz, CA
Kuumbwa Jazz Center
Thu, Apr 4
San Francisco, CA
Miner Auditorium, SFJAZZ Center
Thu, Apr 4
San Francisco, CA
Miner Auditorium, SFJAZZ Center
Fri, Apr 5
San Francisco, CA
Miner Auditorium, SFJAZZ Center
Fri, Apr 5
San Francisco, CA
Miner Auditorium, SFJAZZ Center
Sat, Apr 6
San Francisco, CA
Miner Auditorium, SFJAZZ Center
Sat, Apr 6
San Francisco, CA
Miner Auditorium, SFJAZZ Center
Sun, Apr 7
San Francisco, CA
Miner Auditorium, SFJAZZ Center
Sun, Apr 7
San Francisco, CA
Miner Auditorium, SFJAZZ Center
Tue, Apr 9
Columbia, MO
Whitmore Recital Hall
Tue, Apr 9
Columbia, MO
Whitmore Recital Hall
Wed, Apr 10
St. Louis, MO
Jazz St. Louis
Wed, Apr 10
St. Louis, MO
Jazz St. Louis
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