The University Of Auckland School of Music
First recital in a DMA degree entitled ‘Brad Mehldau’s stylistic innovations and their implications for jazz piano performance’
Standards and Contemporary Works as played by Brad Mehldau
Sunday 13th May 2012, 3.30pm @ KMC Studio One, Auckland
Introduction
Brad Mehldau is one of the most innovative and musical jazz pianists alive today. It is my suggestion that he has expanded not just the piano repertoire but also how that repertoire is performed, helping jazz reach a kind of stylistic ‘renaissance’ by challenging the role of the piano in jazz. One way he has done this is by introducing ideas borrowed from classical disciplines such as antiphony, counterpoint, and fugue. As a child prodigy, Mehldau quickly grasped the technical requirements needed to play classical piano. In fact, his touch on the piano is much more like that of a classical player and not at all one-dimensional (a common criticism of many jazz pianists). His improvisation can be compared to that of a composition, in the way that Mehldau has a clear idea about the overall structure that his solo will unfold and in which order, in short he has a musical game plan, often utilising several layers of intensity. Mehldau uses motif in two ways. First, he often bases initial improvisation on a single cell of melody taken from the first few bars; this is stated and developed over time. Second, Mehldau uses motif as a kind of musical glue connecting more intense improvisational phrases together. This aids the continuity and melodic connectedness of the solo.
This recital contains a collection of standards and tunes borrowed from certain popular music composers such as Radiohead and Nick Drake. The preparation of these tunes has greatly increased my understanding of the challenges involved in attempting to emulate such a great artist. I have made full transcriptions of nearly all of the solos and lead in-heads taken from versions that have inspired my recital, to gain valuable knowledge with regards to how they are constructed. These transcriptions are available for you to download from: –
https://www.jazzpiano.co.nz/2012/02/uploaded-brad-mehldau-lead-sheets-and-transcriptions/
In addition to this, I have compiled a first draft of a chapter to be used in my final exegesis. It contains extensive analysis of stylistic elements found in Mehldau’s improvisation.
I have a tough job on my hands, but hopefully this recital will demonstrate my comprehension of this exceptional performer. Whilst my application of Mehldau’s concepts is in its infancy at this stage of my doctoral program I am gaining a greater depth of understanding into the complexities of his musical style. The pieces I will be playing, and their significance to my research, are outlined, in alphabetical order below.
Alone Together
Based on the version heard on ‘Art Of The Trio Volume 5’ this performance will start with solo piano playing several choruses in time before the band joins in. The aim of this is to exemplify the beginning of an antiphonal approach to improvisation, pedal points, mixed meter playing, certain independence between hands, motivic exploration and other techniques that Mehldau has in his employ. For variety, Kim Paterson (Valve Trombone) will take the head.
Anything Goes
This is the title track for an album released in 2004 and is an example of how Mehldau often combines standard tunes with odd meters. This version is performed in 5/4 utilises a reharmonised and extended turnaround in several places in the arrangement. It is nearly all in the key of F major but modulates between F and Eb during the coda. It is based on a common AABA 32 bar form, where the last A is reharmonised (another classic trait of Mehldau’s arrangements) giving the harmonic framework greater depth. It is impossible not to recognise Mehldau’s contribution to jazz by making common the uncommon, and in doing so creating a metric paradigm shift. I will be performing this arrangement as per the recording.
Blame It On My Youth
This is a solo piano performance with a quasi-stride style that Mehldau often uses when playing solo ballads. Mehldau’s ability to phrase his melodies shall be one of the focuses of this performance, perhaps describable as a precise-looseness and intensity that is so compelling to listen to. The play-rest-play approach he uses creating a sense of un-expectancy, succeeds by surrounding what he does play with an appropriate amount of space. Mehldau’s use of range is also a large trademark of his solo/rubato playing, not to mention the multi-layered textures he creates and sustains s beautifully. Often Mehldau ends a tune with improvisations over an extended vamp. I shall be emulating this ballad concept in full during this piece.
Exit Music For a Film
Inspiration is drawn from the version recorded live on ‘Art Of The Trio Volume 4’ where two interesting things can be found. First, the clearest example of motific statement lasts for the four choruses of the solo (please refer to conceptual analysis section of appendix). This is arguably the longest motific development of this kind and lasts from the beginning of the solo at 2m30s to the end of chorus number four at 4m07s. Second, Exit Music For A Film is the quintessential example of Mehldau’s ability to build AND THEN SUSTAIN the intensity of an improvisation. These will be my goals when performing this piece during the recital.
How Long Has This Been Going On?
Taken from ‘Art Of The Trio Volume 5’, this ballad will further exemplify Mehldau’s exceptional use of ballad phrasing and play-rest-play concepts, this time played within the trio setting. On the original recording Mehldau ends the track by performing a rubato solo outro (see appendix) that far exceeds (length wise) improvisation heard during the main piece. During my recital I will be focusing on a tonic based vamp based on the chords of G – Gdim7 – Cm/G – G.
I’ll Be Seeing You
Based on the performance recorded on ‘Art Of The Trio Volume Four’, this performance is also considered to be important as it further exemplifies Mehldau’s multilevel build concept I would suggest that Mehldau uses a 3-stage approach when contouring his solo. For example, the first two choruses are stage 1, where Mehldau shows considerable restraint, using melodic cells and repeated intervals. The melody is clearly present especially during the last A section of each chorus. Stage 2 of the solo sees more linear activity, mainly diatonic in nature with occasional bop references, motific reference and register climbs. At stage 3 we hear Mehldau disregard the functional harmony of the form and instead, play in a more outside manner using the occasional diatonic fragment as a musical anchor. I will be emulating this musical concept, demonstrating these ideals to the best of my ability.
Knives Out
Knives out, just like Exit Music For A Film, is a track composed by Radiohead and is performed using a fast drum and bass style. Mehldau plays the opening using both heads of this recording with much counterpoint and antiphony that I will be hinting at but not copying directly. The challenge of playing a piece in this way is maintaining a sense of musicality and linear shape even at a fast tempo, and achieving a successful sustained build contour throughout the solo.
Riverman
The version heard on ‘Art Of The Trio Volume 5’ is the quintessential example of how a pianist (and trio) can build intensity gradually over many choruses. Both Grenadier and Rossi support Mehldau flawlessly and this track is one of the seminal recordings that first turned my head towards Mehldau’s playing. I will be approaching this performance in the same way, building intensity slowly in as much of a linear fashion as possible, building tension by using rhythmic, harmonic and melodic devices, moving from sparse to dense over the course of the solo.
Tres Palabras
In this version from Anything Goes (Warner Bros, 2004), Mehldau performs this Bossa with a ballad like approach. His solo is relaxed and doesn’t contain a build heard on other tracks apart from a slight increase in volume; he instead remains dedicated to the melodic content of his improvisation. This is the second track of the recital to feature Kim Paterson on valve trombone. I will be performing a transcription of Mehldau’s piano solo, which will form the initial part of my improvisation.