Brad Mehldau - live in Marciac

As a jazz pianist Brad Mehldau has always been at his best in two formats: as a solo player and classical piano-bass-drums trio. Later in 2011, Nonesuch reissue plans its grand Art of the Trio recordings as a six disc box. During this time, the Live in Marciac, Brad Mehldau is heard playing alone before an enthusiastic audience at the 2006 August festival of Jazz in Marciac - his first solo album since the 2004 Tokyo Live.

Live in Marciac consists of two CDs and a DVD, in total more than 100 minutes of music. Remarkably, the length of virtuosity and excitement levels dip never. After repeated auditions, music seems to be as fresh as ever. Typically for Brad Mehldau, the directory is a mixture of original compositions and an eclectic selection of songs.

Alongside standards by Cole Porter and Rodgers and Hammerstein are songs by Brad Mehldau favorite Radiohead, Nick Drake and the Beatles. More astonishing is the inclusion of lilac wine James Shelton - popularized by Jeff Buckley - and Lithium of Nirvana. Although classically trained, Brad Mehldau clearly listens widely and is a pie for a catchy melody.

Despite this diversity, the album is a general feeling of unity. Without excessive length, Brad Mehldau explores each legally, maliciously room playing a melody, and sometimes investigate side aisles. As is his habit, he revisits the pieces, which he has explored before; for example, it is the third version of the music of Radiohead (for a Film) output. Brad Mehldau is constantly playing, never again, with both hands around the whole keyboard. His music is so rich that it is sometimes possible to believe that two players are at work.

The DVD is the first ever of Brad Mehldau in concert. He is seen performing all but keeps track of the album. Be able to watch hands of Brad Mehldau, fingers, facial expressions, concentration, effort and sweat improves the listening experience, providing a same intimacy denied to members of the audience. The DVD also offers the opportunity to see a transcript of resignation scrolling while Brad Mehldau plays, which makes the cherry on top of an already excellent album.

Lee Konitz/Brad Mehldau: Live at Birdland - review

When pianist Brad Mehldau, sax legend Konitz and bassist Charlie Haden met on a session for Blue Note in 1997, he has not only demonstrated how sympathetic to improvise on familiar songs all three have been, but it has also developed the Brad Mehldau so little is known on the map. They meet on this captivating - totally premeditated, without even a programming - live set with Paul Motian, added to the battery. Konitz sometimes eerie sound alto and explorations to the meandering outside may suggest a rather ascetic music for those unused to intuitively spun improv that takes a view relaxed the integrity of the famous air. But the amplification uncanny of Brad Mehldau of the sentences of the Konitz and his solos breathtaking on the Lullaby of Birdland, solar and you intervened out of a dream (in which the pianist Haden and Motian sound even more a dream than perhaps planned team) are irresistibleas is the imaginative distortion of Konitz architecture I Fall in Love too easily, and classic sounding rhapsody duo piano and saxophone come to an end. Nor it is exclusively a discrete exercise: it includes four-way up-tempo discussions that sparkle with collective energy. John fordham

Live at Birdland - review: Lee Konitz Brad Mehldau.

Pianist Mehldau, SAX legend Konitz and Charlie-Hayden together sympathetic, even known to improvise all know took three song got a Blue Note session in 1997, when shown, it just helps Meadow map either. Is this fascinating live-setlist they are not necessarily completely unpremeditated,-with Paul Motian and drums add reconvene the. Alto sound sad and rather than hunting quest apparently unused austere music of spin was consistent Konitz intuitively can suggest when you are relaxing views of famous songs improvised. However, an ominous expansion of Konitz phrases melded his breathtaking solos Birdland lullabies, Sun, and step out (of pianist Nicky Hayden and might be expected, Motian sound than the dream team) dream is very attractive. The distortion Konitz imaginative architecture love too easy as the duo Rhapsody in autumn and classic sound, piano and saxophone on gets close to its. There is also a modest exercise exclusive: contains uptempo discussion of collective energy and puffs, 4-way. John Fordham