Your Mother Should Know: Brad Mehldau Plays The Beatles Brad Mehldau

• 1 I Am The Walrus 04:14
• 2 Your Mother Should Know 02:18
• 3 I Saw Her Standing There 03:54
• 4 For No One 02:28
• 5 Baby's In Black 07:19
• 6 She Said, She Said 02:42
• 7 Here, There And Everywhere 03:58
• 8 If I Needed Someone 02:25
• 9 Maxwell's Silver Hammer 06:42
• 10 Golden Slumbers 08:17
• 11 Life On Mars? 04:09
• Total Runtime 48:26

Info for Your Mother Should Know: Brad Mehldau Plays The Beatles

The live solo album features the pianist and composer’s interpretations of nine songs by John Lennon and Paul McCartney and one by George Harrison. Although other Beatles songs have long been staples of Mehldau’s solo and trio shows, he had not previously recorded any of the tunes on Your Mother Should Know. The album ends with a David Bowie classic that draws a connection between The Beatles and pop songwriters who followed. Your Mother Should Know was recorded in September 2020 at Philharmonie de Paris.

“There is an undisputed universality to The Beatles,” Mehldau says. “Their music cuts across cultural and generational lines, as new listeners continue to discover it. There is an immediacy and integrity to their songs that draws everyone in.

“When I was getting started at the instrument, The Beatles were not on my radar yet, but a lot of the enduring piano-pop music I heard on the radio grew out of them. That music became part of my personality, and when I discovered The Beatles later, it all tied together. Their music, and its wide influence on other artists, continues to inform what I do.”

Mehldau further considers, “In his book The Western Canon, Harold Bloom confronted the question of what makes particular books endure: ‘The answer, more often than not, has turned out to be strangeness, a mode of originality that either cannot be assimilated, or that so assimilates us that we cease to see it as strange.’

“If we look at The Beatles and the multitude of artists who have been influenced by one or another facet of their oeuvre, this paradoxical recipe for longevity is one way to consider their ongoing footprint,” Mehldau continues. “For there is a good deal of strangeness to much of their music, particularly in the series of game-changing albums that begin with Rubber Soul through the release of their final record, Let It Be.” Brad Mehldau’s Nonesuch debut was the 2004 solo disc Live in Tokyo. His subsequent eighteen releases on the label include six records with his trio as well as collaborative and solo albums. His most recent releases are a pair of recordings with the original 1990s Joshua Redman Quartet, RoundAgain (2020) and LongGone (2022); Variations on a Melancholy Theme (2021), commissioned by and recorded with Orpheus Chamber Orchestra; a solo album he recorded during COVID-19 lockdown, Suite: April 2020; and Jacob’s Ladder (2022), which featured music that reflects on scripture and the search for God through music and was inspired by the prog rock Mehldau loved as a young adolescent. On March 15, 2023, Equinox Publishing will publish Mehldau’s memoir Formation: Building a Personal Canon, Part I, a rare look inside the mind of an artist at the top of his field, in his own words.

Brad Mehldau, piano

Brad Mehldau
played in a number of different ensembles, including label mate Joshua Redman’s quartet, before becoming a bandleader himself in the 1990s. The Brad Mehldau Trio, which tours the world extensively, made eight acclaimed recordings for Warner Bros., including the five widely praised Art of the Trio albums with former drummer Jorge Rossy (released as a boxed set by Nonesuch in 2011). The pianist’s nine years with Nonesuch have been equally productive, beginning with the solo disc Live in Tokyo and including six trio records Day is Done, House on Hill, Live, Ode, and Where Do You Start, as well as a collaboration with soprano Renée Fleming, Love Sublime; a chamber ensemble album, Highway Rider; two collaborations with label mate Pat Metheny, Metheny Mehldau and Quartet, the latter of which also includes Trio members Jeff Ballard and Larry Grenadier; a CD/DVD set of live solo performances, Live in Marciac; and collaborations with genre-crossing musicians on Modern Music, with composer/pianist Kevin Hays and composer/arranger Patrick Zimmerli. Additionally, he produced saxophonist Joshua Redman’s 2013 release Walking Shadows.

Mark Guiliana
According to Modern Drummer, Mark Guiliana is “at the forefront of an exciting new style of drumming.” The New Jersey native’s unique and un-compromised approach to playing the drums has earned him international acclaim as both a leader and a sideman. In 2004, Guiliana created HEERNT, an “experimental-garage-jazz” trio based in New York. The band’s debut record, Locked in a Basement, was called the record “the most exuberant, dramatic, beautiful, sassy, genre-busting little outing that I've heard since I don't know when” by legendary drummer Bill Bruford (Yes, King Crimson). As a sideman, Guiliana’s longest partnership has been with world-renowned jazz bassist Avishai Cohen. He toured all over the world with Cohen from 2003 until 2008, performing on six studio records and a live DVD recorded at the Blue Note in Manhattan. Guiliana has also recorded and/or performed with Meshell Ndegeocello, Dhafer Youssef, Wayne Krantz, Matisyahu, Jazz Mandolin Project, Jason Lindner, Brad Shepik, Bobby McFerrin, Tigran Hamasyan, and many more. His debut solo record, Beat Music, which was co-produced by Ndegeocello, was released in the spring of 2013. Guiliana plays Gretsch drums, Sabian cymbals, Vic Firth sticks, and Evans drumheads.

This album contains no booklet.