Brad Mehldau Trio - House on Hill

A Dark Gem

Just a few words. When I first listened to this recording I was intrigued but not overly enthusiastic. I found myself drawn back to it, though, and the more I listened to it the more I heard. At first, there seems to be a certain sameness to the pieces - the Meldauian "Weltschmerz" sound, I suppose. But I would liken its eventual effect to entering a dark room (perhaps one's attic) and gradully, as you become accustomed to the change of light, objects begin to take form out of the shadows... a doll, an overcoat, artificial flowers, etc. Whatever is in your imagination. The music here is similar to an alternative universe with its own complex laws and geography that the visitor is lost in until he discovers the strange terrain for himself. This is not the cd for the listener who has never heard Mehldau - for that I would reccomend "Day Is Done". This, however, is fascinating, evocative music that rewards repeated, attentive listening. Mehldau is an incredible pianist who has carved out his own jazz/classical hybrid approach to improvisation. I consider him the strongest stylist on piano since Keith Jarrett.
March 15, 2008

For Mehldau enthusiasts only

A good disc, but not alot of unique moments. This highlights alot of songs that show off Brad's talent for repeating patterns while letting drummer Rossy taking artistic license with the beat, it truly is a tribute to Rossy. "Boomer", "Backyard", and "Happy Tune", and "August Ending" all are great examples of this. There's some solid melodies, but after repeated listens I still have yet to find a track that resonates with me.

That being said, the songs begin to meld together because of this similarity, which is a step back in my opinion from some of his work which is more dynamic (Art of the Trio 4 & 5, Places), experimental (the odd "Largo" experiment), or accessible ("Art of the trio 2", "Day Is Done"), or purely emotional (the solo "Live at Tokyo"). September 1, 2006

Gorgeous Swan Song of the First Mehldau Trio

This is the last recording of the Trio as we used to know it, and I love it. If you are a Brad Mehldau-fan only because he occasionally covers Radiohead, this might be over your head .But if you loved PLACES or Elegiac Cycle and love the original compositions that one can find on all of Mehldau's previous releases, go for it. These songs are truly beautiful and as with all of his originals: they grow on you intensly. Jorge Rossy plays his [...] off here. If you loved Art of the Trio, this is a gorgeous swan song for the first Mehldau Trio which should not fail in your collection. July 13, 2006

Everything In Its Right Place

Having seen Jeff Ballard perform with Joshua Redman a few years back, I couldn't help but wonder what he would sound like playing with Brad Mehldau and Larry Grenadier. I imagined the three of them locking into a super-tight groove (but with plenty of finesse and grace)--which is exactly what we hear on a track like "Artis" (from _Day Is Done_). And like many listeners, I am absolutely into the "new" trio. Jorge Rossy was there from the start, however, and it is only fitting that Nonesuch sanctioned the release of this wonderful session.

Now, the reviews have been very mixed, and I'll confess that some of them have left me scratching my head, since to my ears _House on Hill_ beautifully captures the trio as they were evolving in 2002. The perfomances are immaculate (but not "bloodless"--at least not in my opinion), and Mehldau was clearly growing (even more) as a composer. It is also an effectively paced recording. So what's not to like if you're a fan of the Brad Mehldau Trio? I was also happy to to read Mehldau's words again. (Mehldau is an extraordinarily gifted writer and thinker, and I personally enjoy it, say, when he takes on those critics who seem to insist that he sounds like Bill Evans, which of course he doesn't.) Perhaps some might find his musings on jazz composition and improvisation pretentious, but the fact of the matter is that he has earned the right to reflect on the creative process from his own point of view. Finally, it is impossible not to miss Jorge Rossy after listening to this recording (his loose-limbed approach to the kit was a big part of this trio's sound) even while we're at the same time looking forward to the next phase of Mehldau's eventful artistic journey. July 8, 2006

leftover turkey

I was excited when I first saw this - looked like new music from the trio with Mehldau's original drummer. But it turns out to be series of leftovers, outtakes, "songs" that didn't make the cut in earlier albums, I guess from an earlier, now defunct trio.


The first track has a shimmering mirage like quality but the rest start interesting and rapidly go downhill -vapid, noisy, pointless and self-indulgent. And with an almost maniacal performance tendency Mehldau has gone to lately, repeating the same musical passage over and over as if something new will pop out of it through repetition. It's sad, I used to think that the earlier more lyrical, emotional Brad Mehldau, et al, were the best thing out there. Look to his various Art of the Trio albums, or Anything Goes for much more involving music.

I keep waiting for the obviously talented Mr Mehldau to put his heart back in his playing, instead of flashy technique...

Caveat Emptor. Let the buyer beware. Definately audition before purchase.

Don't blame me, I'm just trying to save your money. I've always felt anyone can write an unreflective good review, including the artist himself, the record label and his friends. That's why there are so many of them. But if someone takes the time to write a negative one, to tell you why an album is not worth buying, they probably care for your money. I always read those first.

July 7, 2006

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