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.
Mehldau's interest in classical music returned when he was in his early twenties, and spurred him into developing his left-hand playing.
He led his own trio from at least 1992, when he played at New York's Village Gate.
Mehldau also played as sideman with a variety of musicians around this time.
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 toured for 18 months with saxophonist Joshua Redman.
This association began in 1993, but they had played together for a short period the previous year.
Redman and his band attracted attention, with their 1994 album Moodswing also aiding Mehldau's profile.
They also played together for the soundtrack to the 1994 film Vanya on 42nd Street, for which Redman wrote the music.

Mehldau graduated from The New School in 1993.
He formed his first long-term trio in 1994, with bassist Larry Grenadier and drummer Jorge Rossy.
In the following year, Mehldau recorded Introducing Brad Mehldau for Warner Bros., his first album as sole leader.
It was well received, with The Penguin Guide to Jazz commenting that "it's as if he were aware of jazz tradition but entirely unencumbered by it."
His second album for Warner Bros., The Art of the Trio Volume One, was recorded in 1996 and was widely praised by critics.
The title was selected by producer Matt Pierson as one that would attract attention and help to build a brand.

By 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".
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.
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.
Around 1996 he moved to Los Angeles, to try to overcome this drug problem.
Mehldau later stated that "Once I stopped using heroin, it was like a rush of creativity that had been held in check came out".

In 1996 Mehldau made the first of several recordings with saxophonist Lee Konitz and bassist Charlie Haden.
Mehldau's contributions to film music continued in 1997, with an accompanist role for some of the tracks recorded for Midnight in the Garden of Good and Evil.
His series of trio albums also continued, employing some of the traditional elements of jazz while not conforming to or being restricted by its norms.
Live at the Village Vanguard: The Art of the Trio Volume Two consisted entirely of standards, and was recorded at a series of 1997 concerts at the Village Vanguard, and released the following year.
The title again attracted attention, as concert recordings from the same club had been issued by some of the biggest names in jazz, including Evans, and saxophonists Coltrane and Sonny Rollins.
The studio album Songs: The Art of the Trio Volume Three followed later in 1998, and contained Mehldau originals, standards, plus Nick Drake's "River Man", and Radiohead's "Exit Music (For a Film)".
This album was chosen by Fordham as his jazz CD of the year. "[
Although it] might seem to some a little introverted, and certainly distinctly classical in flavor", he wrote, "the intricacy and counter-melodic richness of a great pianist is astonishingly balanced against the more direct and open eloquence a great vocalist might bring."

Mehldau became established on the inter
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. Mehldau's interest in classical music returned when he was in his early twenties, and spurred him into developing his left-hand playing. He led his own trio from at least 1992, when he played at New York's Village Gate. Mehldau also played as sideman with a variety of musicians around this time. 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 toured for 18 months with saxophonist Joshua Redman. This association began in 1993, but they had played together for a short period the previous year. Redman and his band attracted attention, with their 1994 album Moodswing also aiding Mehldau's profile. They also played together for the soundtrack to the 1994 film Vanya on 42nd Street, for which Redman wrote the music.
Mehldau graduated from The New School in 1993. He formed his first long-term trio in 1994, with bassist Larry Grenadier and drummer Jorge Rossy. In the following year, Mehldau recorded Introducing Brad Mehldau for Warner Bros., his first album as sole leader. It was well received, with The Penguin Guide to Jazz commenting that "it's as if he were aware of jazz tradition but entirely unencumbered by it." His second album for Warner Bros., The Art of the Trio Volume One, was recorded in 1996 and was widely praised by critics. The title was selected by producer Matt Pierson as one that would attract attention and help to build a brand.
By 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". 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. 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. Around 1996 he moved to Los Angeles, to try to overcome this drug problem. Mehldau later stated that "Once I stopped using heroin, it was like a rush of creativity that had been held in check came out".
In 1996 Mehldau made the first of several recordings with saxophonist Lee Konitz and bassist Charlie Haden. Mehldau's contributions to film music continued in 1997, with an accompanist role for some of the tracks recorded for Midnight in the Garden of Good and Evil. His series of trio albums also continued, employing some of the traditional elements of jazz while not conforming to or being restricted by its norms. Live at the Village Vanguard: The Art of the Trio Volume Two consisted entirely of standards, and was recorded at a series of 1997 concerts at the Village Vanguard, and released the following year. The title again attracted attention, as concert recordings from the same club had been issued by some of the biggest names in jazz, including Evans, and saxophonists Coltrane and Sonny Rollins. The studio album Songs: The Art of the Trio Volume Three followed later in 1998, and contained Mehldau originals, standards, plus Nick Drake's "River Man", and Radiohead's "Exit Music (For a Film)". This album was chosen by Fordham as his jazz CD of the year. "[Although it] might seem to some a little introverted, and certainly distinctly classical in flavor", he wrote, "the intricacy and counter-melodic richness of a great pianist is astonishingly balanced against the more direct and open eloquence a great vocalist might bring."
Mehldau became established on the inter
Brad Mehldau