科班出身的爵士钢琴家Brad Mehldau被媒体誉为90年代的Bill Evans，他继承了后者的和谐曲风和钢琴三重奏的建构，并非常乐意于从摇滚音乐人那里借鉴一些经典曲目，而Largo却让Brad Mehldau在曲风上有了一定的转变，合作艺人也大大超出了钢琴三重奏的范围。 by Richard S. GinellBrad Mehldau was another of the plethora of young jazz pianists in the 90s to adopt Bill Evans as their role model. Yet while the influence of Evans still thoroughly dominates Mehldaus introspective manner, harmonic constructions, and preferred format (the piano trio), 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 McCartneys Blackbird, for example). Though Mehldaus training is primarily classical, his interest in jazz began early. He played in the Hall High School jazz band of Hartford, CT, winning Berklee Colleges Best All-Around Musician Award while still in his junior year of high school. He studied jazz at New Yorks New School for Social Research under Fred Hersch, Junior Mance, Kenny Werner, and Jimmy Cobb. Cobb soon hired him to play in his band, Cobbs Mob, and Mehldau also played and recorded with the Joshua Redman Quartet before forming his own trio in 1994 and recording his first Warner Bros. album, Introducing Brad Mehldau, in 1995. Art of the Trio, Vol. 1 followed in 1997, with the next two volumes in the series appearing over the following months. Two years later, Mehldau returned with Elegiac Cycle, as well as Art of the Trio, Vol. 4: Back at the Vanguard. Places followed in 2000, consisting of all original compositions that focused on a certain city, hence the title of the album. Another Art of the Trio album came in 2001, but the most significant release was Largo, which recorded Mehldau performing with other groups outside of his usual trio format. This was a big change from his previous work, and offered new challenges as he adapted to several interesting lineup situations. Mehldau followed the genre-bending album with the standards-based Anything Goes and Live in Tokyo in 2004, with Day Is Done arriving the following year. In 2006, he released House on Hill as well as Love Sublime, the latter with soprano vocalist Renée Fleming, on Nonesuch Records.