Did you feel pressure from the hype and expectation that surrounded Redman and the quartet? And did that aid in your development and outlook? You were a member of Joshua Redman’s quartet and crucial to its success. I still get off on his music, almost like an addiction. Of course, I loved Bud Powell and Monk, the piano players in that time period, but it was Bird’s solos that I was transcribing, trying to go to the source. I have probably been influenced by horn players and different instruments, just as much as piano.ĭefinitely Miles, early on, and always for a sense of melody or phrasing, and Coltrane, for sure. When I was more like thirteen or fourteen, I really just started buying records, sort of a buying frenzy, listening to all sorts of different piano players and a lot of horn players too. I think I could relate to it, coming from the classical side of things. Again, it was kind of like, discovering that that was possible on the piano, what he was doing. About a year later, a friend of mine gave me Keith Jarrett’s “Bremen and Lausanne” that solo, three record thing, for my birthday. It was just, sort of, what people gave me. I heard a bunch of different players, around that time, who were all pretty diverse. I would say that some of the Brahms is probably the stuff that’s closest to my heart. I am always listening to a lot of Brahms piano solo music. That kind of roped me in with jazz, to sort of know that that was possible to do that on the piano.ĭo you have a favorite classical piece or a classical composer? He was playing completely different kind of music. Not really jazz, of course, because I had not been exposed to that, but I think when I heard Oscar, after hearing recordings of Horowitz and things like that of classical virtuosos, I could kind of relate to that, in the sense that his technique was so astounding. Well, I have been playing classical piano from the time I was about six years old, but sort of improvising a lot. Oscar was really the first guy I really listened to. A friend of my father’s bought it for me when I was eleven years old. I think the first real jazz record I listened to was an Oscar Peterson and Joe Pass duo album, one of those Pablo things. The Interviews of Brad Mehldau – Download PDFĪ Conversation with Brad Mehldau, Fred Jung, All About Jazz, Retrieved 27 th April 2012 The content of the PDF is also included in this post. Organisations include All About Jazz, Huffington Post, London Jazz, PBS, Barnes and Noble, and the Ithaca Journal. This is all of the interview material that I could find, the PDF is 25 pages long and contains 9 interviews, which are in no particular order.
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