John Watson writes: I have long admired the creativity and keyboard eloquence of Brad Mehldau, but opportunities to photograph him have been few. However, for the first volume of his autobiography (link to Scott Flanigan’s review below), I was able to supply him with shots I took at Symphony Hall in Birmingham when he gave permission for photography in just one number during his tour with guitarist Pat Metheny some years ago in the Metheny-Mehldau Quartet.
And that contribution to his book led to an invitation – also extended to my colleague Tim Dickeson – to exclusively photograph him in concert on Saturday (4 May) at the Cheltenham Jazz Festival.
Brad shot to fame at a very challenging time for sensitive artists, for the spread of camera phones and compact cameras led to irritation and frustration as flash after flash was pointlessly aimed at concert stages by a minority of audience members who selfishly annoyed both artists on stage and the listeners around them.
As professional photographers, we are as discreet as we can be – never using flash, of course, and keeping away from audience sightlines. But at some festivals in Europe, though not at UK jazz festivals, artists sometimes face a huge number of photographers during the first two numbers, not always a happy start to any concert. I know, because – having got my shots – I’ve crawled out from underneath that eager European crowd on my hands and knees, as though emerging from a rugby scrum, with cameras swinging round my neck.
So Brad has long excluded photographers from his concerts, sacrificing valuable publicity for his work but immediately able to focus his mind on his creative endeavours when he sits at the keyboard.
This shot of bassist Felix Moseholm seems to capture the focus and concentration on the delicate touch of just one fingertip on one string…
…..while drummer Jorge Rossy (above), as ever, listens with intensity and openness.
These shots were taken at Cheltenham Town Hall with great discretion, some from behind a pillar on the floor of the hall, and some from a balcony position above the stage.
My aim was to show what few audience members ever see close up: the intense focus, and sheer passion, that inform Brad’s gorgeous music. His way is to immerse himself completely in his creative endeavours, and yet the outstretched left arm in the last shot below also speaks of his gratitude and appreciation.
And I hope these photos provide viewers with a new insight into the intense nature of a great artist’s music.
Brad Mehldau, piano
Felix Moseholm, bass
Jorge Rossy, drums
One Response
Great shots of a superb concert. Unfortunately, I think that this was one of the most poorly-stewarded events I have been to. Latecomers were being admitted to the Hall at least 35 minutes into a 75 minute set, and not even being made to wait for the breaks before numbers. One woman plonked herself down and sat cross-legged on the floor in the middle of one aisle, three young men were allowed to sit on the steps leading to our balcony seats, and many audients simply ignored instructions about photography and snapped or videoed away – leaving those of us minded to follow the rules feeling frustrated. Latecomers upstairs were only able to locate their seats by opening the blackout curtains to each “box”, causing shafts of bright mid-afternoon sunlight to pierce the darkened hall, disturbing anyone who had them in their line of sight. The band – and those members of the audience who knew how to behave – deserved so much better.