CD1:
01. It May Not Always Be So 5'43
02. We Met At The End Of The Party 4'02
03. Child, Child 2'19
04. Twilight 2'51
05. Because 4'39
06. Dreams 5'30
07. Did You Never Know? 5'41

CD2:
01. Léo Ferré Avec le temps 4’14
02. Barbara Pierre 4’03
03. Joni Mitchell Marcie 3’57
04. Richard Rodgers Something Good 3’22
05. Michel Legrand Chanson de Maxence from Les Demoiselles de Rochefort 5’14
06. Jacques Brel Chanson des vieux amants 4’11
07. Fred E. Ahlert Sakta vi gå genom stan (Walking My Baby Back Home) 2’39
08. Lars Färnlöf Att Angöra en Brygga 2’42
09. Barbara Dis quand reviendras-tu? 4’12
10. Michel Legrand What Are You Doing the Rest of Your Life? 3’12 from The Happy Ending
11. Bob Telson Calling You from Bagdad Café 4’08
12. John Lennon | Paul McCartney Blackbird 2’26
13. Leonard Bernstein Some Other Time from On the Town 4’03

The genisis for the double-disc release, Love Songs, was a commission from Carnegie Hall for Brad Mehldau to write songs for Anne Sofie Von Otter, for voice and piano. Later, he was commissioned again jointly from Carnegie Hall and Wigmore Hall in London and wrote two more songs. Those songs received their debut performances at Carnegie Hall and Wigmore respectively, and appear here for the first time, on the first CD of this two disc set.

For the second CD, Anne Sofie and Brad present singular interpretations of a wide variety of material. There are great French songs here from Jacques Brel, Leo Ferré, Barbara, and Michel Legrand; there are American songbook classics – some in the orignal English, and a few surprises in Swedish, Anne Sofie’s mother tongue. There are songs from Lennon and McCartney and Joni Mitchell, and more contemporary pop music.

All of these were selected by Anne Sofie and Brad, who went back and forth with each other, finding the material together, and then went through a lot of music before settling on the program that is presented here. When the two of them perform together in an upcoming tour during the next year, their program promises to be as varied as Love Songs itself is: They will perform some of the classical art songs that Anne Sofie is most often associated with, and will also perform a selection from the new record – both Brad’s own songs, and some of the other pop, jazz and French songs as well. It promises to be a special concert experience. --- bradmehldau.com

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01. Taming the Dragon 6:42
02. Luxe 5:40
03. You Can't Go Back Now 5:45
04. The Dreamer 5:24
05. Elegy for Amelia E. 7:34
06. Sleeping Giant 6:18
07. Hungry Ghost 5:01
08. Gainsbourg 7:52
09. Just Call Me Nige 5:41
10. Sassyassed Sassafrass 5:52
11. Swimming 4:58
12. London Gloaming 4:56

Brad Mehldau - synths, Fender Rhodes, piano, spoken voice, “ahh” vocals 
Mark Guiliana - drums, electronics

Nonesuch Records releases the debut album from the electric duo of Brad Mehldau and Mark Guiliana, Mehliana: Taming the Dragon, on February 25, 2014. The two have been performing for several years, including a brief US tour this fall, with Mehldau playing Fender Rhodes and synthesizers and Guiliana on drums and effects, as they are on the record. Mehliana comprises 12 original tunes—six written by the duo and six written by Mehldau—and was engineered and mixed by Greg Koller (Jon Brion, Kanye West). The vinyl edition of the album, due March 18, includes two 140-gram LPs pressed at Pallas MFG in Diepholz, Germany, and a CD of the album.

Brad Mehldau played in a number of different ensembles, including label mate Joshua Redman’s quartet, before becoming a bandleader himself in the 1990s. The Brad Mehldau Trio, which tours the world extensively, made eight acclaimed recordings for Warner Bros., including the five widely praised Art of the Trio albums with former drummer Jorge Rossy (released as a boxed set by Nonesuch in 2011). The pianist’s nine years with Nonesuch have been equally productive, beginning with the solo disc Live in Tokyo and including six trio records Day is Done, House on Hill, Live, Ode, and Where Do You Start, as well as a collaboration with soprano Renée Fleming, Love Sublime; a chamber ensemble album, Highway Rider; two collaborations with label mate Pat Metheny, Metheny Mehldau and Quartet, the latter of which also includes Trio members Jeff Ballard and Larry Grenadier; a CD/DVD set of live solo performances, Live in Marciac; and collaborations with genre-crossing musicians on Modern Music, with composer/pianist Kevin Hays and composer/arranger Patrick Zimmerli. Additionally, he produced saxophonist Joshua Redman’s 2013 release Walking Shadows.

According to Modern Drummer, Mark Guiliana is “at the forefront of an exciting new style of drumming.” The New Jersey native’s unique and un-compromised approach to playing the drums has earned him international acclaim as both a leader and a sideman. In 2004, Guiliana created HEERNT, an “experimental-garage-jazz” trio based in New York. The band’s debut record, Locked in a Basement, was called the record “the most exuberant, dramatic, beautiful, sassy, genre-busting little outing that I've heard since I don't know when” by legendary drummer Bill Bruford (Yes, King Crimson). As a sideman, Guiliana’s longest partnership has been with world-renowned jazz bassist Avishai Cohen. He toured all over the world with Cohen from 2003 until 2008, performing on six studio records and a live DVD recorded at the Blue Note in Manhattan. Guiliana has also recorded and/or performed with Meshell Ndegeocello, Dhafer Youssef, Wayne Krantz, Matisyahu, Jazz Mandolin Project, Jason Lindner, Brad Shepik, Bobby McFerrin, Tigran Hamasyan, and many more. His debut solo record, Beat Music, which was co-produced by Ndegeocello, was released in the spring of 2013. Guiliana plays Gretsch drums, Sabian cymbals, Vic Firth sticks, and Evans drumheads. --- nonesuch.com

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01. John boy [03:16] 
02. Dont be sad [08:41] 
03. At the tollbooth [01:08] 
04. Highway rider [07:46] 
05. The falcon will fly again [08:22] 
06. Now you must climb alone [04:06] 
07. Walking the peak [08:00] 
08. Well cross the river together [12:28] 
09. Capriccio [05:21] 
10. Sky turning grey (for elliot smith) [06:24] 
11. Into the city [07:37] 
12. Old west [08:29] 
13. Come with me [06:20] 
14. Always departing [06:21] 
15. Always returning [09:53]

Personnel:
Brad Mehldau -	Arranger, Orchestral Bells, Orchestration, Organ (Pump), Piano
Alyssa Park, Sara Parkins,  Robert Peterson, Vladimir Polimatidi, Josefina Vergara, Philip Vaiman, 
Tereza Stanislav, Michele Richards, Natalie Leggett, Gerardo Hilera, Dorian Cheah,
 Caroline Campbell, Jacqueline Brand, Bob Becker - Violin
Andrew Picken, Qiang "John" Wang, Carole Kleister-Castillo, Roland Kato, Julian Hallmark,
 Matt Funes, Andrew Duckles, Denyse Buffum – Viola
Stefanie Fife, Trevor Handy, Armen Ksajikian, Timothy Landauer, Martha Lippi,
 Rudolph Stein, Cecilia Tsan – cello
Phillip Yao, John Reynolds, Dan Kelley, Steven Becknell, Mark Adams – horns
Andrew Radford – bassoon
Allen Savedoff – contrabassoon
Joshua Redman - Sax (Soprano), Sax (Tenor)
Michael Valerio, David Stone, Susan Ranney, Ed Meares, Oscar Hidalgo, Larry Grenadier, 
Timothy Eckert – bass
Matt Chamberlain, Jeff Ballard - Drums, Percussion
The Fleurettes - Guest Appearance, Vocals

The Highway Rider is pianist and composer Brad Mehldau's second collaboration with enigmatic pop producer Jon Brion. The first was 2002's ambitious but tentative Largo. As a collaboration, The Highway Rider is much more confident by contrast. Mehldau’s most ambitious work to date, its 15 compositions are spread over two discs and 100 minutes. His trio --bassist Larry Grenadier and drummer Jeff Ballard -- is augmented by saxophonist Joshua Redman, drummer Matt Chamberlain, and a chamber orchestra conducted by Dan Coleman. The album is a narrative jazz suite, orchestrated and arranged by Mehldau, though it has much in common with classical and pop music, as well.

The group settings range from solo to quintet, with and without strings, all of it recorded live in studio. Redman's addition is welcome. “Don’t Be Sad” features his consoling tenor, Mehldau (on pump organ and piano), Grenadier, and both drummers with orchestra. It begins as a piano solo, languidly establishing a pace that begins to swing with gospel overtones. Later, Redman's lower-register blowing, strings, and winds carry it out joyfully. Brion adds drum‘n’bass overtones to the trio on the title track. The electronics are a narrative device designating motion; they accompany the gradually assertive knottiness in the post-bop lyric. Mehldau begins “The Falcon Will Fly Again” with a complex solo that touches on Latin grooves, even as Chamberlain and Ballard create an organic loop effect with hand percussion. Redman's soprano creates a contrapuntal melody extending the harmonic dialogue. Disc two’s lengthy “We’ll Cross the River Together” has quintet and orchestra engaging in a beautiful study of texture, color, and expansive harmonics with wildly divergent dynamics. It showcases Mehldau’s trademark pianistic elegance in counterpoint. Redman's deep blues tenor nearly weeps on “Sky Turning Grey (For Elliot Smith).” “Capriccio’'s Latin rhythms contrast ideally: Mehldau’s classical, gently dissonant motifs create an exploratory harmonic palette as Redman’s magnetic soprano playing joins Mehldau's in the last third, anchoring the complex melody. The closer, “Always Returning,” builds to a climax that incorporates themes from the cycle. Redman and Mehldau soar with the orchestra before they all close it in a whispering tone poem. By combining sophisticated -- yet accessible -- forms with jazz improvisation, The Highway Rider exceeds all expectations, giving jazz-classical crossover a good name for a change. It is Mehldau’s most ambitious, creatively unfettered, and deeply emotional work to date, and will stand as a high watermark in his catalog. ---Thom Jurek, All Music Guide

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01 - When it rains 
02 - You're vibing me 
03 - Dusty McNugget 
04 - Dropjes 
05 - Paranoid android 
06 - Franklin Avenue 
07 - Sabbath 
08 - Dear Prudence 
09 - Free Willy 
10 - Alvarado 
11 - Wave mother nature's son 
12 - I do

Personnel: 
Brad Mehldau (vibraphone, piano); 
Phillip Yao, Daniel Kelley, Joseph Meyer, Jerry Folsom (French horn); 
William Reichenbach, George B. Thatcher, Kenneth Kugler (trombone); 
Steve Kujala, Dave Shostac (flute);
Gary Gray, Emile Bernstein (clarinet);
Jon Clark, Earle Dulmer (oboe);
Peter Mandell, Rose Corrigan (bassoon); 
Jim Keltner (vibraphone, piano, drums, percussion); 
Jon Brion (piano, guitar, percussion); 
Larry Grenadier, Darek "Oles" Oleszkiewicz (acoustic bass); 
Justin Meldal-Johnsen (electric bass); 
Matt Chamberlain (drums, tabla, shaker, percussion); 
Victor Indrizzo (drums, percussion); 
Jorge Rossy (drums).

In the most enigmatic project up to this point in his career, Brad Mehldau explores conflicting aesthetics, sometimes in tracks positioned next to each other, and occasionally within the confines of a single performance. A spare simplicity governs much of the album, emphasized by almost puritanical horn arrangements -- long notes, mournful triadic chords. After acknowledging these episodes with childlike figurations on the piano, Mehldau then builds his solos along more dissonant lines, which invariably end up enhancing the mood. But then there are tracks like "Dropjes," whose electronic effects gnash angrily at the piano, or "Free Willy," on which putty attached to the instrument's low strings allows Mehldau to unleash a feral improvisation, with lines that suggest scurrying rodents more than bebop blowing. Producer Jon Brion stimulated much of this adventurism, at times diving directly into the mix with his guitar synth or Chamberlin keyboard. But what intrigues most about Largo in the end is the perspective it offers on Mehldau, whose playing here is, as always, intelligent, perhaps a bit cerebral, and now open as well to sonic exotica. --- Robert L. Doerschuk, allmusic.com

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01 - Los Angeles 
02 - 29 Palms 
03 - Madrid 
04 - Amsterdam 
05 - Los Angeles II 
06 - West Hartford 
07 - Airport Sadness 
08 - Perugia 
09 - Walk in the Park, A 
10 - Paris 
11 - Schloss Elmau 
12 - Am Zauberberg 
13 - Los Angeles (Reprise)

    Brad Mehldau - Piano
    Larry Grenadier - Bass (tracks 1, 3, 6, 9, 11 & 13)
    Jorge Rossy - Drums (tracks 1, 3, 6, 9, 11 & 13)

Brad Mehldau is becoming a more interesting, more thought-provoking, more individualistic musician with each release -- breaking away from the same old models, finding new ones to integrate into his own personality. The 11 compositions on this CD were conceived on the road, and only midway through did Mehldau realize that they developed similar ideas. Which indeed they do, seizing upon repeated riffing and vamps that Keith Jarrett has explored and sending them in cogent directions. The designated theme is travel; each selection bears the name of a place or mood, and the catchy, contemplative "Los Angeles" serves as the album's bookends, as well as a solo pit stop in the center. Like Elegiac Cycle, Places works like a song cycle; a unified, beautifully proportioned conception, with lots of rambunctious, swinging outbreaks amidst the contemplation. The titles in themselves mean nothing as far as the content of the music is concerned -- or so he writes in another lengthy, provocative liner note. Rather, the album is about the constancy of his personality and musical language, taking all of your personal mental baggage with you wherever you travel. This is an important album, one that anyone interested in piano jazz ought to check out. ---Richard S. Ginell, Rovi

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1. M.B.
2. Ode
3. 26
4. Dream Sketch
5. Bee Blues
6. Twiggy
7. Kurt Vibe		play
8. Stan The Man
9. Wyatt’s Eulogy For George Hanson
10. Aquaman		play
11. Days Of Dilbert Delaney

Personnel: 
Brad Mehldau - piano; 
Larry Grenadier - bass; 
Jeff Ballard - drums.

The Art of the Trio: Recordings 1996-2001 (Nonesuch, 2011) provided an opportunity to reassess Brad Mehldau's rapid trajectory, though the trio that established him as one of the past two decades' most important pianists was long gone. If Jorge Rossy's replacement in 2005 seemed to open the trio up more, it's perhaps because drummer Jeff Ballard is a more assertive conversationalist, as demonstrated from the get-go on "Knives Out," the first track on Mehldau's debut with this updated incarnation, Day is Done (Nonesuch, 2005). It's a feeling immediately reaffirmed on "M.B.," the opener to Ode, Mehldau's first trio recording since Live (Nonesuch, 2008).

While Mehldau's trio was his primary focus for the first decade of his career, the past seven years have seen him busier in a multiplicity of contexts, from solo performances like the stellar Live in Marciac (Nonesuch, 2011) and the ambitious Highway Rider (Nonesuch, 2010), with its larger cast of characters, to collaborations with guitarist Pat Metheny on Metheny Mehldau (Nonesuch, 2006) and Quartet (Nonesuch, 2007), and his more recent trifecta with pianist Kevin Hays and composer/arranger Patrick Zimmerli, Modern Music (Nonesuch, 2011). If Mehldau's trio plays fewer gigs and records less often these days, that just means that any release is to be eagerly anticipated, and Ode doesn't disappoint.

Ode represents Mehldau's first set of entirely original compositions for trio since Rossy's swan song, House on Hill (Nonesuch)—released in 2005 but largely recorded in 2002. That a decade has passed means considerable growth for Mehldau the writer, who covers a lot of territory, from the vibrant opener dedicated to the late saxophonist Michael Brecker to the loose funk of "Dream Sketch," which reflects the same ongoing interest in song form that's compelled Mehldau to cover artists like Radiohead and Nick Drake on previous recordings. That doesn't mean Mehldau's lost sight of the jazz tradition: the ambling and aptly titled "Bee Blues," with its hint of Thelonious Monk-like idiosyncrasy, features Larry Grenadier, Mehldau's bassist of choice since 1995; while the incendiary "Stan the Man" swings at an almost impossible tempo made effortless by Grenadier and Ballard, with the pianist turning in one his most impressive solos of the set, executing a series of blinding unison passages with both hands.

Mehldau's ability to accomplish seemingly impossible feats for two hands has also given him additional compositional flexibility; driven by Ballard's hand-played percussion, "Twiggy" may sound like two pianists, but anyone who's watched the DVD of Live in Marciac knows this is the work of a single set of two hands.

Few bassists are as instantly responsive as Grenadier, and in more open-ended environs like the rubato "Wyatt's Eulogy for George Hanson"—which ultimately dissolves into the freest piece in Mehldau's entire trio repertoire—it's the group's inestimable collective empathy that makes it so important and influential. Mehldau may no longer make this trio his primary focus, but with Ode, he makes crystal clear that it remains a vital one, with less frequent releases only serving to more vividly highlight the quantum leaps that Mehldau, Grenadier and Ballard make, both individually and collectively, year after year. ---John Kelman, allmusic.com

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