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The Art of the Trio, Vol. 4: Back at the Vanguard
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Barnes and Noble
The Art of the Trio, Vol. 4: Back at the Vanguard
Current price: $22.99
Barnes and Noble
The Art of the Trio, Vol. 4: Back at the Vanguard
Current price: $22.99
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Appearing just three months after
Brad Mehldau
's elegant solo piano album
Elegiac Cycle
,
Art of the Trio, Vol. 4: Back to the Vanguard
provides a remarkable contrast to the refined, cerebral, hypnotic affair that was released before it. Not that the performances on
Back to the Vanguard
aren't hypnotic, since they're utterly captivating. The difference is that this live recording captures exactly how vital and impassioned
Mehldau
's playing is. Working with bassist
Larry Grenadier
and drummer
Jorge Rossy
, he turns these songs -- including three originals, one
Miles Davis
number, two standards, and
Radiohead
's
"Exit Music"
-- inside out, finding the heart of the song, and exploring a bewildering array of variations of the themes and chords. This music surges forward, unhinged and forceful, complex but completely accessible.
spends much of his liner notes on the defensive, explaining how many jazz critics have misread his music. He has a point -- he has often been ghettoized as a jazz intellectual, but as this exceptional album proves, there is considerable emotion and feeling and plain excitement behind his music, even during the mesmerizing quiet sections. ~ Stephen Thomas Erlewine
Brad Mehldau
's elegant solo piano album
Elegiac Cycle
,
Art of the Trio, Vol. 4: Back to the Vanguard
provides a remarkable contrast to the refined, cerebral, hypnotic affair that was released before it. Not that the performances on
Back to the Vanguard
aren't hypnotic, since they're utterly captivating. The difference is that this live recording captures exactly how vital and impassioned
Mehldau
's playing is. Working with bassist
Larry Grenadier
and drummer
Jorge Rossy
, he turns these songs -- including three originals, one
Miles Davis
number, two standards, and
Radiohead
's
"Exit Music"
-- inside out, finding the heart of the song, and exploring a bewildering array of variations of the themes and chords. This music surges forward, unhinged and forceful, complex but completely accessible.
spends much of his liner notes on the defensive, explaining how many jazz critics have misread his music. He has a point -- he has often been ghettoized as a jazz intellectual, but as this exceptional album proves, there is considerable emotion and feeling and plain excitement behind his music, even during the mesmerizing quiet sections. ~ Stephen Thomas Erlewine