Mehldau's new album tracks jazz's evolution
‘Anything Goes' features
covers of Thelonious Monk
and nine other artists
with unique takes on jazz
By Carl Sundberg
When an art form begins to mim
W%. Sewt1& #&&***& $81 # . | i
REV 1EW sign that the
To continue to exist, it must expand,
grow and branch out. It must evolve.
This is especially true for music, and
even more so for jazz.
One clever way to show the evolu
tion of jazz is by taking songs writ
ten in the past and rehashing them,
putting them into a new context, to
show that growth is taking place.
Pianist Brad Mehldau is doing
just that on his latest album, "Any
thing Goes."
Pulse Columnist
ic itself and
replicate
patterns, it
is a sure
form is on
its way out.
The ten tracks on "Anything Goes"
are all covers, ranging from Cole
Porter and Thelonious Monk songs
to those of Paul Simon and Radio
head. The title of the album comes
from the Cole Porter song, describ
ing the sound and feel of the whole
album, with its broad range of
songs, perfectly.
Credit must also be given to Lar
ry Grenadier on bass and Jorge
Rossy on drums, who round out the
trio on the album. These three mu
sicians are truly talented and help
each other with subtle and almost
awkward engagements. Their inter
play is like a catch-up conversation
between a group of longtime friends
— very cheerful but also relaxed.
There is no need to really impress
each other, but the time spent is ob
viously joyous.
The opening track, "Get Happy,"
is just under ten minutes long and
holds your attention every minute
with its bizarre timing and
polyrhythms bouncing and rolling
in and out of each other. Here is
where Rossy really flashes his skills
behind the drums, performing
tricks and stunts that are quite spec
tacular. There is also the feeling of
comical delight behind the notes,
like Mehldau is laughing through
his piano.
Another track that has this joyous,
almost comical feel to it is the rare
Thelonious Monk track, "Skippy."
The trio moves up and down the
rather traditional sounding jazz
piece with a modern sophistication
that harkens to the future of the
genre, saying "See, it is still alive!"
The ballad "I've Grown Accus
tomed To Her Face," from Alan Jay
Lerner and Frederick Loewe's classic
"My Fair Lady," is more heartbreak
ing and beautiful than the original
ever was. The gentle cascading of
Mehldau's phrasing gives the song a
heightened emotional tug that must
be heard to be understood.
As for the renditions of the
pop/rock songs by Paul Simon and
Radiohead, Mehldau and his trio in
terpret them with class, intelligence
Turn to JAZZ, page 12
Courtesy
The Brad Mehldau Trio will play at The Shedd Concert Hall April 13.
Adam Amato Senior Photographer
Tiffany, who prefers to go by one name, is a dancer for John Henry's
Sunday-night burlesque show, which also features comedy and music acts.
John Henry’s weekend burlesque
allows patron participation, nudity
The bar’s Sunday burlesque
show resembles that of a '30s
club and has a variety of acts
By Ryan Nyburg
Senior Pulse Reporter
Every Sunday night at 10 p.m., John
Henry's changes from a downtown bar
into something resembling a 1930s jazz
club. The bar and video poker machines
are bathed in red light and the employ
ees wear vintage formal attire. Drink or
ders and the clicking of pool balls over
lap with the jazz and 1950s rock coming
over the speakers. On a small stage in the
front, a band begins to warm up.
The stage is set for John Henry's Broad
way Revue. Featuring a wide range of per
formances, garish costumes and audience
participation activities, the show has be
come a popular late-night event in Eu
gene, drawing 80 to 100 customers a week,
according to the management.
"There's nothing like it in Eugene," bar
manager Mark Martin said. "It's really one
of a kind here. You go to the big cities and
you'll see a lot of good shows like this there.
But not in Eugene."
One of the attractions, according to Mar
tin, is that the audience can join in the show.
Anyone who has an idea for an act can sug
gest it and possibly perform on stage.
Turn to BURLESQUE, page 12
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