They brought their show into the studio, exploring original compositions and an impressively eclectic stack of covers. 39 wounds However, the authorities do not seem to be investigating the case , which are typical of suicide by self-infliction.After performing two sold-out duo concerts at downtown Manhattan’s Bowery Ballroom in December 2015, pianist Brad Mehldau and mandolinist Chris Thile decamped to Avatar Studios in Hell’s Kitchen, where they spent three more creatively charged days recording together. 2002 Largo.Wikipedia contributors. 2001 Art of the Trio, Vol. 1999 The Art of the Trio, Vol. 1998 The Art of the Trio, Vol.
He plays original compositions and jazz standards, as well as interpretations of non-jazz songs by The Beatles, Nick Drake, Radiohead and Soundgarden, for example.He has also contributed to movie soundtracks, including Midnight In The Garden of Good and Evil (1997), Eyes Wide Shut (1999), Space Cowboys. Mehldau is the most influential jazz pianist of the last 20 years.”Brad Mehldau is an American jazz pianist born on Augin Jacksonville, Florida. Thile, the mandolinist and singer with Punch Brothers, is a progressive-bluegrass pacesetter Mr. As New York Times jazz critic Nate Chinen put it after a 2013 concert, “Chris Thile and Brad Mehldau come from different worlds but the same species, and whatever feels unlikely about their pairing is eclipsed by what feels perfectly natural. The sessions yielded a brilliant, often freewheeling, live-in-the-studio double album, the first joint recorded effort from these two disparate yet equally formidable talents.
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Bradford Alexander Mehldau is an American jazz pianist, composer, and arranger. So probably a lot of what’s special about this project for me is the way we get beyond our instruments.”Brad Mehldau (Composer) Born: 23rd August 1970, Jacksonville, Florida. Even though that’s a very small instrument he plays, there’s a large world of musical sound that he conveys. Chris also plays drums a lot for me—you can hear that on a track like ‘Scarlet Town,’ where he gives me a kind of back beat. Chris and I are both influenced by guitar-oriented music, so I think we wind up ‘playing guitar’ for each other a lot, only I’m doing it on piano and he’s doing it on mandolin.
Mehldau’s arrangement of the standard “I Cover the Waterfront” is a daringly slow burn, the melody emerging like an outline in the fog, and Thile matches it with a smoldering performance of his own. It was released by Nonesuch Records on January 27, 2017.This two-disc set features expansive takes on several covers, including a heartbreakingly melancholic rendition of Joni Mitchell’s “Marcie,” a version of Elliot Smith’s “Independence Day” that forsakes lyrics to spotlight its evocative melody, and a rollicking, practically ribald version of Bob Dylan’s “Don’t Think Twice, It’s All Right” that the duo often uses as its closing number in concert. (2017) Chris Thile & Brad Mehldau is an album by Chris Thile and Brad Mehldau. I think that was of great interest to both of us: setting up these open fields of rhythm to romp around in.”Chris Thile & Brad Mehldau. And then there’s the nice rhythmic connection… Both instruments are about as percussive as chordal instruments can be, and Brad is such a deep pocket. He can play higher and lower than me, much lower and a little bit higher, which he’s mindful of as well, always listening, sometimes clearing out a spot for me, sometimes propping up an idea by meeting me in that spot.
He would catch me.”“I’ve rarely been with a singer who is as relaxed in the studio,” counters Mehldau. You might hear me tentatively go for something on this record and Brad’s response to it on the piano is ‘Yeah man, do that.’ I remember the physical feeling of those ‘Old Shade Tree’ takes: Brad would do something badass and I’d suddenly feel ten feet tall and bullet proof, like I could just rear back and go for something knowing everything would be okay. In addition to everything else Brad’s an extraordinary accompanist, unbelievably responsive, supportive, and encouraging. It doesn’t take him long, with the encouragement of Mehldau, to really let go.“Playing comes more naturally to me,” Thile admits, “I’m comfortable just letting it rip, whereas I’ll sweat singing in the studio until I get it ‘just so.’ But I didn’t really feel the need to do that during this session, to be so careful with the vocals. The set opens with the bold stroke of the co-written “The Old Shade Tree,” which features what must rank as one of Thile’s most unfettered vocal performances.
There were only a handful of edits where we grabbed part of another take that was better—and it wasn’t necessarily the vocal we wanted to fix it might have been something else. We did everything together in the same room. There are no vocal fixes on the final product in terms of Chris doing something later alone. It wasn’t one of those exacting, piece-by-piece sessions it was just lots of fun music-making.
There was a purity of spontaneous development that I hadn’t really encountered before. He recalls that fellow Punch Brother Gabe Witcher—who lent his editing expertise to these sessions—introduced him to Mehldau’s Art of the Trio 4: Back at the Vanguard, a 1999 live set that, admits Thile, “may be, along with Kind of Blue, the quote-unquote jazz record I’ve listened to the most. In that sense, it felt like a lot of the jazz records I’ve made.”Thile had long been a Mehldau fan. Everything was just there already.
It’s like he is three or four musicians at once, and each one would kick ass in its own right: A bandleader, a singer-songwriter, a virtuoso instrumentalist, and an inspired improviser. I heard immediately that Chris wore a few different hats at the same time but was strong at everything. Nonesuch’s Bob Hurwitz saw their similarities, as he remarks in the liner notes he penned for this set: “I am always amazed at how broad their interests are, how accepting they are of all kinds of music, and how much they have embraced the music of our time as well as the music of the past.” And, with no motive in mind other than to share his enthusiasm for Thile and his band-mates, Hurwitz invited Mehldau to join him at the Bowery Ballroom for one of the earliest Punch Brothers gigs.“It was electrifying,” recalls Mehldau, “and I was instantly a fan, right there.
Walking back to the dressing room afterwards we were both saying, ‘Man, we really should do this from time to time!’ I think part of it was the immediate wealth of shared influences. As Thile recounts, “We did a couple of things together that night and had so much fun. In March 2011, as part of his Richard and Barbara Debs Composer’s Chair residency at Carnegie Hall, Mehldau invited Thile to share a bill with composer Gabriel Kahane, and he sat in for part of the set. They played separately but were clearly on the same wavelength: This show marked Mehldau’s first solo recital of composers from the classical canon, including Bach, and Thile too would perform pieces by Bach as well as original compositions.
But the high points came when they took off in contrapuntal flights, then fell into cadences of dramatic closure.” And the Washington Post stated, “Their complex work translated to plain-faced beauty: simple, direct and exquisite.”Chris Thile enjoyed success at an early age with the Grammy Award–winning roots music trio Nickel Creek. They took turns soloing or comping for each other, Mehldau often providing grounding left-hand rhythms, Thile laying down percussive riffs with dampered, toneless chording. A music critic for the Guardian wrote that “their musicality and sympathy for each other’s emerging ideas made it an unexpected tour de force.” When the pair embarked on a short American tour in 2013, the Boston Globe noted, “The two proved admirable partners.
Now, as the new host of the venerable public radio show A Prairie Home Companion, he displays both his tremendous knowledge of and boundless enthusiasm for the widest range of music and comedy.Mehldau’s tastes are just as deep, as his recent eight LP/four-CD compilation, 10 Year Solo Live, featuring interpretations of work from Brahms to the Beatles, John Coltrane to Nirvana, attests the New York Times calls it “an ambitious self-portrait.”. Thile continues to take the mandolin into uncharted territory: For a 2013 album produced by Meyer, he performed Bach sonatas and partitas for solo violin.
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