In 1996 Mehldau made the first of several recordings with saxophonist Lee Konitz and bassist Charlie Haden. Mehldau later stated that 'Once I stopped using heroin, it was like a rush of creativity that had been held in check came out'. Around 1996 he moved to Los Angeles, to try to overcome this drug problem. Another, non-musical, similarity with Evans that was commented on was Mehldau's struggle with an addiction to heroin during the 1990s, up to 1998.
The appreciation was not universal: some of the pianist's self-penned liner notes and interview comments, which included philosophical musings and complaints about comparisons with pianist Bill Evans, engendered dislike in some, thereby, in critic Nate Chinen's words, 'leaving Mehldau with a lingering reputation for pretentiousness and self-indulgence.' Many critics did, though, reassess their judgment of his main influences, which previously had often been given as Evans, an assessment that was perhaps attributable more to race than to music. īy the mid- to late 1990s Mehldau was regarded by some as one of the leading jazz musicians: critic John Fordham described him as 'the next great keyboard star of jazz'.
They also played together for the soundtrack to the 1994 film Vanya on 42nd Street, for which Redman wrote the music. Redman and his band attracted attention, with their 1994 album Moodswing also aiding Mehldau's profile. This association began in 1993, but they had played together for a short period the previous year. Mehldau also toured for 18 months with saxophonist Joshua Redman. His performances with saxophonist Perico Sambeat included a tour of Europe early in 1993, and Mehldau's first released recordings as co-leader, from a May concert in Barcelona. Mehldau also played as sideman with a variety of musicians around this time. He led his own trio from at least 1992, when he played at New York's Village Gate. Mehldau's interest in classical music returned when he was in his early twenties, and spurred him into developing his left-hand playing.
Mehldau's first recording was for Hollyday's The Natural Moment in 1991 his first tour of Europe was also with the saxophonist that year.
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