· 10? interview a few words with brad mehldau charles martin brad mehldau your new album has the...
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The Hong Kong Arts Festival is a prominentarts event in the cultural calendar of Hong
Kong and the Asia Pacific region. Proudlystepping into its 33rd year, the Festivalcontinues its vigorous pursuit of innovativedevelopment; the presentation of new worksand the provision of quality arts.
In terms of the number and diversity ofprogrammes, the 2005 Festival is one of thelargest festivals to date, offering a wide varietyof inspiring art, music and culturalprogrammes by prestigious internationalartists and leading local talents. I am sure thatthe Festival will further enhance Hong Kong’sstatus as an international cultural metropolis.
I extend our warmest welcome to allparticipating artists and wish all local andoverseas members of the audience a mostenjoyable time.
TUNG Chee HwaChief ExecutiveHong Kong Special Administrative Region
2005
2005
Message from the Chairman
I warmly welcome you to the 33rd Arts Festival.As a premier event in the Hong Kong cultural
calendar as well as the Asia Pacific region, theFestival presents the finest international andregional artists in an intense series of concerts andperformances, as well as showcases the creativityof artistic talent in Hong Kong.
Appreciation and thanks are due to our mainsubventing organisations – the Hong KongGovernment, through the Leisure and CulturalServices Department, and the Hong Kong JockeyClub Charities Trust. Their long and continuedpatronage are what make these culturalpresentations possible.
In addition, we gratefully acknowledge thegenerous support of many corporate sponsors,arts institutions and individuals.
The Festival has always made our programmesaccessible to students and young audiencesthrough half-price student tickets and our YoungFriends Scheme. These schemes are funded by thegenerous donations from numerous corporateand individual donors.
The 2005 Festival offers a rich and stimulatingprogramme, with a variety of captivatingperformances and choices, presenting a diverse rangeof tastes with artistic excellence. We hope to offersomething enjoyable and of interest to everyone.
Above all, I would like to thank you, our patrons, foryour support and participation in the 2005 Festival.
Charles Lee
The Hong Kong Arts Festival is made possible with the funding support of:
2005
7A89268
2005
Message from the Executive Director
The starting point for the programming of this 2005Festival was the idea of contrasting opposites – ‘sacred
and profane’. Both of these elements are rich sources ofcreative impulses for the performing arts in most culturesand this thematic link is evident in much of ourprogramming. We hope these connections and contrastswill make your Festival experience more engaging andmemorable.
Alongside all of our international artists, we are proud topresent many outstanding Hong Kong artists. For example,the Hong Kong Philharmonic Orchestra and the HongKong Repertory Theatre, as well as the fine young HongKong musicians, pianist Rachel Cheung and the Fresh AirBrass Quintet. Other important Hong Kong artists takingpart include Cantonese opera stars Mui Suet-see and LeeLung; Class 7A Drama Group; Chung Ying Theatre; Group89268; the Material Girls; choreographer Daniel Yeungand the remarkable combined talents of Lee Chun-chow,Faye Leong, Gabriel Lee and Chong Mui-ngam in TheFrench Kiss.
In addition, our commitment to commissioning new workfrom Hong Kong and around the world continues, withpieces such as Amber, The Nightingale, All That ShanghaiJazz, Material Girls, i-City, The French Kiss, Come Out &Play and Little Prince Hamlet.
The 2005 Festival will offer a total of 124 performanceswith 42 performing groups (32 overseas and 10 local), twoexhibitions and our Festival Plus programme of talks,seminars and meet-the-artist sessions.
This is one of our largest Festivals to date, in terms of thenumber and the diversity of programmes. I am sure too,that it will be one of our most enjoyable and inspiring. Weare delighted that you could join us.
Douglas Gautier
08 Brad Meldau Trio 5
Concert Hall, Hong Kong City Hall
22.2.2005
To make this performance a pleasant experience for the artists and other members of the audience,PLEASE switch off your ALARM WATCHES, MOBILE PHONES and PAGERS.
Eating, drinking, smoking, unauthorised photography and audio or video recording are forbiddenin the auditorium. Thank you for your cooperation.
1 30
Running time:approximately 1 hour and 30 minutes
with no interval
7 Trio Members
Brad Mehldau Trio
PianoBrad Mehldau
BassLarry Grenadier
DrumsJeff Ballard
Accommodation for the Brad Mehldau Trio is sponsored by
All photographs © Warner Brothers Records
The audio equipment is sponsored by
8
Radiohead
Led Zeppelin
Interview8
9
Interview
10 Interview
A Few Words with Brad Mehldau
Charles MartinBrad Mehldau
Your new album has the Radiohead song Paranoid Android. For a longtime you didn’t hear many pop tunes in jazz, apart from the odd Beatlesor Stevie Wonder tune. Jazz artists who came of age in the 1970’s, say,didn’t generally play Led Zeppelin or Earth, Wind & Fire. That seems tohave changed of late. What’s going on?
I think everything is splintered now, and there’s not one particular ethos in jazzthat takes precedence over another one; that’s fine really. I would say though,that with jazz, the importance of the material the musician chooses issometimes overblown. What’s really important is what he or she brings to thematerial in their interpretation and improvisation.
When I’m choosing a song to play, I always have an emotional connection to it.Often it’s a song I’ve known for a long time, although not always. There arelots of reasons why a song resonates emotionally with someone.
The next factor is whether I can find a compelling way to interpret that song,and a way to improvise on it. Those are really the only factors that guide mydecision making. That’s what I look for as a listener – who wrote the song orwhen it was composed doesn’t matter so much in the actual performance.
Has your approach to choosing repertoire changed much since youstarted out?
It hasn’t changed. It’s never been calculated. It’s more a case of when it occursto me to try a particular song, I try it, and then it either works or it doesn’t.Sometimes it’s not clear immediately if it works or not.
Your career as a sideman is pretty wide-ranging; you’ve played withpeople as diverse as Willie Nelson and Perico Sambeat. Who has made aparticular impression on you?
The guitarist Peter Bernstein made a big impression on me, and I still play in hisgroups fairly regularly, which I always enjoy immensely. He’s been a model forme on the importance of melodic phrasing, choosing good songs and
11 Interview
composition as well. Also the guitarist Kurt Rosenwinkel is big for me, as acomplete musician, someone who is a model of individuality. I’ve gotten towork with him over the years and just recorded on his new record, Deep Song.The experience of playing with the drummers Jimmy Cobb and the late BillyHiggins on different occasions was very powerful and profound for me. JoshuaRedman, the saxophonist, was a great model for me on how to be a bandleader when I worked with him.
You were commissioned by Carnegie Hall to write music for the greatsoprano, Renee Fleming. How are you approaching that?
The only guidelines were that it should be for voice and piano. I’ve chosen textsfrom Rilke and Louise Bogan, and I’ve completed six songs and will probablywrite two more.
Will the work involve improvisation, or will it all be written out?
It’s completely written out, and doesn’t involve improvisation at all. It’s hard todescribe your own music stylistically, but it definitely reflects my love for classicalart songs that I’ve listened to for years. I would say that musically differentlisteners might hear different things. There’s a classical element in the pianowriting, there’s a jazz element in the rhythm and harmony sometimes, andthere’s a pop aspect to the way the melodies are phrased in some cases. I wastrying to emulate the way an interesting pop singer like Joni Mitchell phrasesher melodies rhythmically. As I write, I’m also thinking about Renee Fleming’svoice and the particular beauty it has.
You’ve made a change in your line-up recently.
I’ve made a switch in the drum chair – now I’m playing with Jeff Ballard, whoI’m very excited to be working with. Jeff is a dynamic, powerful drummer whomI’ve admired for years, and I’ve gotten to play with him in different contexts overtime. Jeff and Larry Grenadier, my bass player, have a very long relationshipmusically – they’ve known each other since high school – and that informs howthey play together.
I worked with my former drummer, Jorge Rossy, for ten years, and we felt itwas time to move on. Jorge wants to pursue the piano more – he’s a very finepiano player – and become more involved in composition.
13 Biographies
1988
13
14
Brad MehldauPiano
Brad Mehldau, like many of his contemporaries, began his career with a classicaltraining, long before he was exposed to jazz. He started experimenting with thepiano when he was just four, began taking lessons when he was six and continueduntil he was 14. As a youngster he listened more to rock than jazz.
In 1988 Mehldau moved to New York where he worked with a variety of musiciansover the following years and made several recordings as a sideman. During thatperiod he began to develop his own style which he attributes to the influence ofhis musical peers, specifically band leaders Peter Bernstein,Jessie Davis and David Sanchez as well as other musicians heworked with including – Mark Turner, Kurt Rosenwinkel,Perico Sambeat, Leon Parker, Avishai Cohen and Chris Potter,to name a few. In addition he met and played with his futuretrio mates, Larry Grenadier and Jorge Rossy in several projects.Mehldau’s first major international exposure came as amember of the Joshua Redman Quartet, with which herecorded MoodSwing and toured the US and Europe for ayear and a half.
As well as recording with the trio, Mehldau has a solo pianorecording entitled Elegiac Cycle, and a record called Places thatincludes both solo piano and trio songs. Elegiac Cycle andPlaces might be called ‘concept’ albums. They are made upexclusively of original material and have central themes thathover over the compositions. Other Mehldau recordingsinclude Largo, a collaborative effort with the innovativemusician and producer Jon Brion.
Mehldau’s musical personality forms a dichotomy. He is firstand foremost an improviser, and greatly cherishes the surpriseand wonder that can occur from a spontaneous musical ideathat is expressed directly, in real time. But he also has a deepfascination for the formal architecture of music, and it informseverything he plays. In his most inspired playing, the actualstructure of his musical thought serves as an expressive device.As he plays, he listens to how ideas unwind, and the order inwhich they reveal themselves. Each tune has a strongly feltnarrative arch, whether it expresses itself in a beginning, an
Biographies
15 Biographies
end, or something left intentionally open-ended. The two sides of Mehldau’spersonality – the improviser and the formalist – play off each other, and the effectis often something like controlled chaos.
Brad Mehldau is also the subject of a French documentary entitled Jazz Collection:Brad Mehldau, and his performance of Blame It On My Youth, the lead track fromArt Of The Trio, Vol 1, is featured in the film Eyes Wide Shut and its companionsoundtrack on Warner Sunset. Mehldau has composed and recorded the score tothe French film, Me Femme et une Actrice. He is currently working on a commissionfrom Carnegie Hall to compose a set of songs for voice and piano, with theacclaimed classical soprano, Renee Fleming.
17
Larry GrenadierBass
Larry Grenadier attended Stanford University where he received a BA degree inEnglish Literature. After moving to the East Coast of the US he played with the GaryBurton Band, touring the US and Europe. Since moving to New York he has playedwith Joe Henderson, Betty Carter, Pat Metheny and the John Scofield Group.
For the past year when not touring and recording with the Brad Mehldau Trio,Grenadier tours and records with the Pat Metheny Trio.
1988 1990
FLY
Jeff BallardDrums
Jeff Ballard grew up in Santa Cruz, California. From 1988 to 1990 he toured withRay Charles before moving to New York. Since then, he has played and recordedwith Lou Donaldson, Danilo Perez, Chick Corea and Joshua Redman to name afew.
Currently, as well as being a member of the Brad Melhdau trio, he is a co-leader ofthe collective group FLY (featuring Mark Turner, Larry Grenadier and Jeff Ballard)and Joshua Redman’s Elastic Band.
Biographies 17
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