Brad Mehldau Torrent
Mehldau explains, ' Finding Gabriel came after reading the Bible closely for the last several years. The prophetic writing of Daniel and Hosea resonated in particular, as well as the wisdom literature of Job and Ecclesiastes, and the devotional words of Psalms. The Bible felt like a corollary and perhaps a guide to the present day—one long nightmare or a signpost leading to potential gnosis, depending on how you read it.
The archangel Gabriel appeared to Daniel, telling him, 'At the beginning of your pleas for mercy a word went out, and I have come to tell you, for you are greatly loved. Therefore consider the word and understand the vision.' It seemed that the trick was to listen to Gabriel's words through all the noise and find a way to explain the bedlam, not only to oneself, but to a young person with less of a reference as to what is right-side up—perhaps one's own children.' In this upside down state of affairs, the prophet is a fool: 'The man of the spirit is mad, because of your great iniquity and great hatred,' Hosea says. He meant that the prophet indeed speaks the truth, but no one believes it anymore—it's all fake news, no matter on which side of the fence you are standing. There is a temptation to make it all go away and escape into even more distraction, but this is only temporary refuge and leads one further into a matrix of falsehood. Eventually one comes up for air with more confusion and maybe even despair.
With all the supposed connectivity, it seems that we are more separated from each other than ever, submerged in the deep water of unhappy solitude. Where to turn for the truth? Ask, with a humble heart, listen deeply, and the answers will come.' The music initially sprang out of a new synth I was discovering—the Dave Smith/Tom Oberheim OB-6 featured on several tracks,' Mehldau continues. 'I built up many of the tracks beginning with synths and Mark Guiliana on drums, in a process similar to our previous collaboration, Taming the Dragon.
Layers were added, and the human voice became an important element—not with text, but as a pure expression of harmony and emotion. I worked with singers I've admired and been close to over the past several years—Becca Stevens, Kurt Elling, and Gabriel Kahane—and sang myself as well. Strings and winds were added and the project became more orchestral, with features from stellar musicians: trumpet player Ambrose Akinmusire, tenor saxophonist Joel Frahm, and violinist Sara Caswell.' A new experience for me on three of the tracks was to go the opposite as well—doing everything as a one-man band. Both the collaborations and solo flights were a learning experience and full of discovery.
John Davis, who engineered and mixed the record, was an integral player from beginning to end at Bunker Studios in Brooklyn, creatively contributing to the sonic landscape and finally putting all the pieces together.' Although Brad Mehldau is best known as a jazz composer and improviser, he has made several albums that fall outside of the mainstream jazz genre, including his 2001 Largo, produced by Jon Brion. Wide-ranging in texture and big in scale, it features woodwind or brass ensembles are on several tracks, as well as a heavy emphasis on powerful drums. In 2010, Nonesuch released his second collaboration with Brion, Highway Rider, which includes performances by Mehldau's trio—drummer Jeff Ballard and bassist Larry Grenadier—as well as drummer Matt Chamberlain, saxophonist Joshua Redman, and a chamber orchestra led by Dan Coleman. Mehldau also orchestrated and arranged the album's fifteen pieces for the ensemble.Mehldau's 2014 collaboration with Mark Guiliana, Mehliana: Taming the Dragon was praised by All About Jazz as 'another superlative effort in the career of a pianist who has been consistent in his commitment to excellence and genre-defying creativity—and one that shines a major spotlight on the stylistically unbound and similarly forward-thinking Guiliana.'
Mehliana featured Mehldau on Fender Rhodes and synthesizers and Guiliana on drums and effects, playing twelve original tunes—six by the duo and six by Mehldau.The 2004 solo disc Live in Tokyo was Mehldau's label debut. He has released seven albums with his trio: House on Hill, Day Is Done, Brad Mehldau Trio Live, Ode, Where Do You Start, Blues and Ballads, and last year's Grammy-nominated Seymour Reads the Constitution! Also released last year was the solo album After Bach, which comprises the pianist/composer'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.Mehldau's additional collaborative records on the label include Love Sublime, Metheny Mehldau, Metheny Mehldau Quartet, Modern Music, Nearness with Joshua Redman, and Chris Thile & Brad Mehldau.
His solo records also include Live in Marciac and the eight-LP/four-CD 10 Years Solo Live, which the New York Times says 'contains some of the most impressive pianism he has captured on record.' Brad Mehldau: Finding Gabriel1. The GardenBecca Stevens: voiceGabriel Kahane: voiceAmbrose Akinmusire: trumpet, soloMichael Thomas: flute, alto saxCharles Pillow: soprano sax, alto sax, bass clarinetJoel Frahm: tenor saxChris Cheek: tenor sax, baritone saxBrad Mehldau: OB-6 Polyphonic synthesizer, Therevox, Moog Little Phatty synthesizer, Steinway C grand piano, voiceMark Guiliana: drums2.
Born to Trouble'For affliction does not come from the dust, nor does trouble sprout from the ground; but man is born to trouble as the sparks fly upward.' 6-7Brad Mehldau: voices, OB-6, Little Phatty, Yamaha upright piano, Steinway C grand piano, drums3. Striving After Wind'I have seen everything that is done under the sun; and behold, all is vanity and a striving after wind.'
—Ecclesiastes 1.1 4Becca Stevens: voiceGabriel Kahane: voiceBrad Mehldau: OB-6, Fender Rhodes, Little PhattyMark Guiliana: electronic drums4. O Ephraim'What shall I do with you, O Ephraim? Your love is like a morning cloud, like the dew that goes early away.'
—Hosea 6.4Brad Mehldau: voices, OB-6, Fender Rhodes, piano, Musser Ampli-Celeste, Morfbeats gamelan strips, drums5. Mark Is Howling in the City of NightBecca Stevens: voiceGabriel Kahane: voiceSara Caswell: violinLois Martin: violaNoah Hoffeld: celloBrad Mehldau: OB-6, piano, voiceMark Guiliana: drums, electronic drums6. The Prophet Is a Fool'The prophet is a fool, the man of the spirit is mad, because of your great iniquity and great hatred.' —Hosea 9.7Ambrose Akinmusire: trumpet, last soloMichael Thomas: flute, alto saxCharles Pillow: soprano saxJoel Frahm: tenor sax, first and second solosChris Cheek: baritone saxBrad Mehldau: Therevox, OB-6, xylophone, pianoMark Guiliana: drums7. Make It All Go AwayBecca Stevens: voiceKurt Elling: voiceBrad Mehldau: OB-6, Little Phatty, pianoMark Guiliana: drums8. Deep Water'Save me, O God! For the waters have come up to my neck, I sink in deep mire, where there is no foothold; I have come into deep waters, and the flood sweeps over me.'
—Psalms 69.1-3Becca Stevens: voiceGabriel Kahane: voiceSara Caswell: violin, end soloLois Martin: violaNoah Hoffeld: celloBrad Mehldau: piano, OB-6Mark Guiliana: drums9. Proverb of Ashes'Your maxims are proverbs of ashes, your defenses are defenses of clay.'
Brad Mehldau Torrent Free
—Job 13.12'Snorts' Malibu: opening voiceKurt Elling: voice, middle soloBrad Mehldau: OB-6, Little Phatty, Therevox, piano, ending voicesMark Guiliana: drumsAaron Nevezie: Korg Kaoss Pad10. Finding Gabriel'At the beginning of your pleas for mercy a word went out, and I have come to tell you, for you are greatly loved. Therefore consider the word and understand the vision.' —Daniel 9.23Brad Mehldau: voices, Little Phatty, Yamaha CS-60 synth, Therevox, Mellotron, Hammond B-3 organ, piano, shaker, handclaps, drums.
Exact Audio Copy V1.1 from 23. June 2015EAC extraction logfile from 11. Brad Mehldau's warm, utterly enveloping effort, 2016's Blues and Ballads, finds the pianist leading his trio through a set of well-curated standards and covers.
The album follows up his genre-bending 2014 collaboration with electronic musician Mark Guiliana, Mehliana: Taming the Dragon, and smartly showcases his return to intimate acoustic jazz. Admittedly, the title, Blues and Ballads, is somewhat misleading, as Mehldau only tackles one actual blues with his jaunty, off-kilter take on Charlie Parker's 'Cheryl.' Otherwise, the blues of the title is implied more in the earthy lyricism of a handful of ballads.
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An influential figure in the jazz world since the late '90s, Mehldau has subtly transformed not only the way modern jazz is played, but also the repertoire from which musicians draw inspiration. He was one of the first jazz artists to rework modern alt-rock songs by the likes of Radiohead and Nirvana, imbuing them with a delicacy and harmonic nuance that both celebrated the original recordings and recontextualized them within the jazz canon. While the song choices on Blues and Ballads are by no means as adventurously maverick as that, they are well chosen and make for supple listening. Here, Mehldau and his longtime bandmates bassist Larry Grenadier and drummer Jeff Ballard dig into thoughtfully selected compositions like the Beatles' 'And I Love Her,' transfiguring the minor/major-key centers into something sweeping and operatic. Similarly, cuts like 'I Concentrate on You' and 'These Foolish Things (Remind Me of You)' feel both well-considered and off the cuff, as if Mehldau and his trio simply decided to start playing during the afterglow of a jovial dinner party. Surprisingly, it's Jon Brion, who produced Mehldau's 2002 album Largo, who offers the pianist one of the album's most poignant moments with his original ballad, 'Little Person.' Based around a deftly simple melody, in Mehldau's sympathetic hands the song is the musical equivalent of a child's tears.
While Blues and Ballads is by no means Mehldau's most ambitious album, it's nonetheless a work of expansive emotionality and deeply hued beauty.