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brad mehldau: progression: the art of the trio, vol.5
The New Yorker hailed Brad Mehldau as the Hol-den Caulfield of jazz piano; critics have both lauded and condemned him as the Bill Evans or McCoy Tyner of his generation. Progression: Art of the Trio Vol. 5, Mehldau's latest live release, displays the lyrical and melodic sophistication of his more recent studio efforts; the album leans away from the flashy displays of technical virtuosity that dominate previous live recordings in favor of introspection. While this recording does not stand out in the Mehldau canon as strikingly as does the standard-setting third volume of the Trio series or the solo-piano Elegiac Cycle (his most mature recording), it does yield a number of memorable live moments that demonstrate the trio's progress.
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The first disc consists primarily of jazz standards and covers, including the Dietz/Schwartz classic "Alone Together," performed at a Ritalin-inspired tempo in a challenging 7/4 time. The trio manages to maintain the melody for a full 13 minutes before segueing effortlessly into "It Might As Well Be Spring" for a finale. Popular music fans will be pleased to discover a rendition of Nick Drake's "River Man" closing out the first set.
Mehldau's own compositions appear more frequently on the second disc: he resurrects "Resignation" with drum and bass accompaniment. "Sublation," a melodic blues tune in a baffling time signature that shifts moods repeatedly, finishes with a reverse vamp from the beginning of the disc. Hints of Elegic Cycle appear on "Secret Love," a heartbreaking lullaby with a solo-piano closing that draws listeners into a dream. Though progress might be too strong a term for this album—its finest moments hearken back to old accomplishments—an artist as unique as Mehldau has the liberty to take it slow and milk the good things he's got. (Warner)
—Dave Gorin
All materials © 2001 The Yale Herald, Inc., and its staff.
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