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Metheny Mehldau

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Albenrezension

The collaboration between Pat Metheny and Brad Mehldau is something that must have been written in the stars. Fans of both men have wondered if it would ever take place, and the end result on the Nonesuch release of Metheny Mehldau is the confirmation that it was destined. Hyperbole? Put it on and listen before you offer that remark seriously. Of the ten cuts here, eight are duets; the other two feature Mehldau's rhythm section, bassist Larry Grenadier and drummer Jeff Ballard. Metheny wrote seven of these tunes, and Mehldau wrote the other three. Each man's compositional style is evident from the word go. There's the luxurious counterpoint that extends form the haunting melody of "Unrequited." Further, there is the natural extension of rhythm and swing on "Ahmid-6." But the real accomplishment here is the ease with which these men play such sophisticated and engaging music that is, perhaps on paper, difficult. But its expansive sense of lyricism and yes, rhythmic interplay, is continually surprising; there is no competition in these tunes, they flow, one into the other with a language being made on the spot. On the quartet tunes, such as Metheny's "Ring of Life," the influence of postmodern drum'n'bass — à la electronica — is heard in the tough breakbeats played by Ballard and the counter-rhythmic invention of both Mehldau and Grenadier. It is Metheny's melodic voice, his continually approaching the euphoric, that holds it all together and makes something utterly moving out of it. The gentle swing of "Say the Brother's Name" (also by Metheny) takes Mehldau's sense of the phrase and expansive left-hand technique as it finds harmonic invention in the middle register as the key to unlocking the track's mystery. Mehldau's typically understated solo splits the seam and allows the genuine intensity of the cut to come through. Rhythmically there are breaks here too, but not as pronounced or as forceful as on the earlier selection. Indeed, when all is said and done, the listener is left wanting — more that it. One wishes that a double album would have been made, one with the duet — so full of startling moments it's impossible to list them all — and quartet, whose genuine sense of extrapolative swing is not only inherent, but infectious.

Kundenrezensionen

Zauberhaft

Es sind die leisen Töne, die dominieren - dabei gibt sich das Spiel der beiden deswegen nicht weniger kraftvoll. Der subtile Charakter läßt das Album schon fast als Alterswerk erscheinen, was zumindest für Pat Metheny gilt Oft sind Gemeinschaftsprojekte bekannter Jazz-Musiker so entstanden, dass man sich einmal ein paar Tage gemeinsam ins Studio gesetzt hat und aus dem Fundus schöpft. Dieses hat Substanz, es lebt ebenso von der (selten gezeigten) Virtuosität der Artisten wie auch von der Brillianz der Interpretationen und Kompositionen.

Leise Töne

Wer hier Bar-Jazz erwartet, sollte gleich abrehen. Pat Metheny hat schon wesentlich free-jazzigere Alben gemacht, hier bleibt er mit Brad Mehldau in einem wunderschön gesetzten Rahmen. Augen zu machen, und anhören, very relaxing, und teilweise sogar leicht groovig.

Biografie

Geboren: 23. August 1970 in Jacksonville, FL

Genre: Jazz

Jahre aktiv: '90s, '00s, '10s

During the '90s and into the 2000s, Brad Mehldau was one among a plethora of young jazz pianists who rose to prominence. He is one of the more absorbing and thoughtful practitioners within that idiom, and he is receptive to the idea of using material from the rock era (Paul McCartney's "Blackbird," for example). Though Mehldau's training is primarily classical, his interest in jazz began early. He played in the Hall High School jazz band of Hartford, Connecticut, winning the Berklee College of Music's...
Komplette Biografie
Metheny Mehldau, Brad Mehldau
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