In listening to the five years of the Brad Mehldau Trio represented in this box set, one hears the unfolding of a new and significant part of modern jazz history, as the end of the 1990s opened the door on the explosive creative renaissance of the music in the 21st century. Nonesuch has compiled the five releases in the Art of the Trio series, as well as an additional disc of unreleased recordings from the same period (1997-2001), offering a serious reconsideration of what has already been accepted as a "next step" for the jazz piano trio's history. On Vol. 1, Mehldau, bassist Larry Grenadier, and Spanish drummer Jorge Rossy intriguingly and seductively begin uttering the first sounds of their new language via Mehldau's originals, such as "Lament for Linus" and "Ron's Place"…
In listening to the five years of the Brad Mehldau Trio represented in this box set, one hears the unfolding of a new and significant part of modern jazz history, as the end of the 1990s opened the door on the explosive creative renaissance of the music in the 21st century. Nonesuch has compiled the five releases in the Art of the Trio series, as well as an additional disc of unreleased recordings from the same period (1997-2001), offering a serious reconsideration of what has already been accepted as a "next step" for the jazz piano trio's history.
Virtuoso pianist Brad Mehldau continues his Art of the Trio series with a two-CD set titled Art of the Trio, Vol. 5: Progression. Recorded live at the Village Vanguard in New York City, this volume is his most satisfying triad outing yet. The trio opens disc one with a swinging up-tempo rendition of "The More I See You" and, for over ten minutes, Mehldau improvises his swinging instincts with his well-organized rhythmic partners, drummer Jorge Rossy and acoustic bassist Larry Grenadier. His original "Dream's Monk" features an extended variation on his profoundly introspective bebop. This composition is the centerpiece of disc one, which otherwise features covers of such standards as "Alone Together," "It Might as Well Be Spring," and "The Folks Who Live on the Hill."
This second volume of miscellaneous chamber works contains all of the music that is not a formal quartet, quintet, or sextet. In includes the piano trios, the wonderful Terzetto for two violins and viola, works for solo instrument and piano, pieces for piano four-hands, and all of those little, undefinable works, some of which (such as the Bagatelles for two violins, cello, and harmonium) are magnificent.
There's beauty aplenty in Parnassus' playing… MDG's recording, by placing the piano (which sounds wonderful throughout) slightly back in the acoustic, achieves a believable and wholly satisfying instrumental balance.