Saturday Night Jazz: Mehldau / Radiohead

In anticipation of his new double disc coming out on the 16th, tonight, a bit later than usual, admittedly, we have Brad Mehldau & his trio interpreting Radiohead. Some purists out there, or maybe just those way too cool for school, may object to the ‘intrusion’ of pop music into their sometimes-overly-fetishized artform, be it a depressing rock bands or depressing folk singers (Nick Drake’s ‘River Man’, for example, weirdly, has become something of a new jazz standard), but I have no problems with it at all. If you’re amongst the purists, you’ve been warned.

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Posted in Jazz. 6 Comments »

6 Responses to “Saturday Night Jazz: Mehldau / Radiohead”

  1. Rob L Says:

    I was just listening to ok computer the other day, and remembered how good radiohead are. These are lovely clips.

  2. Adam Kotsko Says:

    For me, the most enduring Radiohead album is Kid A, though I’ve really warmed to In Rainbows much more than I would’ve ever expected.

    Mehldau has a lot of other great stuff, too — though my whole knowledge of him comes from Brad’s old “Friday Jazz” posts on The Weblog.

  3. Brad Johnson Says:

    If you happen to live in the Bay Area, I would highly recommend you check out Mehlday & co. when they hit Yoshi’s in early April. It’s a great, intimate venue for seeing him live.

  4. David Says:

    The pianist Christopher O’reily has put out two records of Radiohead interpretations which are really great, although the second record seems something of an afterthought to the first. His interpretation of “Let Down” is simply brilliant.

  5. Alex Says:

    Adam,

    Much as I love Kid A, give Amnesiac another spin. I did and I was vastly impressed by it. Rather than being Kid A offcuts I’m increasingly convinced it is the better album. There is a point to this related to the post: it is also Radiohead’s most jazz influenced record, see in particular the closing song Life In A Glasshouse.

  6. Brad Johnson Says:

    I’m not really sold on Christian Scott’s cover of Thom York’s “Eraser,” but it’s worth noting at least.


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