•
Rating: Brad Mehldau. A genius.
The pentalogy of “The Art Of The Trio” alone could be enough to put everyone in agreement on the artistic greatness of this pianist-revelation of the last ten, fifteen years, and place him rightfully in the Pantheon of the greats of Jazz.
A bit of history. Brad was born in Florida in '70, started early with classical studies then transitioned to jazz, and arrived in New York in '89. From that moment on, he would be in high demand as a sideman in a multitude of recordings, collaborating with Jimmy Cobb (the historic drummer of “Kind Of Blue”), Cecil Payne (baritone sax who played with Dizzy Gillespie), and the talented tenor sax Joshua Redman. He also collaborates with guitarist Peter Bernstein and the great Charlie Haden (bassist of the revolutionary Ornette Coleman group, which shocked the jazz world in the early '60s). Then he collaborates in Spain with the brothers Mario and Jorge Rossy. With the latter, he forms a strong artistic and friendly bond, and he becomes his reference drummer for many years to come. Years that see him sign an exclusive contract with Warner, an important major that knows how to believe in this promising young talent and valorizes him. Meanwhile, Umbria Jazz in '97 consecrated him, acclaiming his extraordinary performances held in “semi-secret”, after midnight, in the room of the Turrenetta (an annex of the Teatro Turreno of Perugia). The first evening half-empty, but word of mouth spreads quickly and soon it's a full house, with people left outside for his last two performances.
After this success, Mehldau is constantly invited, in the following years, this time among the “big names”, and it is for him the definitive baptism of fire. European and Italian critics in a frenzy, calling it a miracle, the “new Bill Evans” and so on. The magazine Musica Jazz elects him the best talent of '98, and musical events vie for him, he even goes into overexposure due to too many invitations. However, the press embellishes too much on his good looks as well as on his addiction, the extra-musical aspects of the story, like his way of sitting at the piano, three-quarters turned, all hunched...like Bill Evans. Yes, a name that Brad begins to find stitched to him, and it drives him crazy. His trio works, with the excellent Larry Grenadier on double bass and the already mentioned Jorge Rossy on drums, have in fact very little in common with Evans's work; in reality, the two are linked only by the fact of being white, being able to play ballads masterfully, and having had dependency issues! As flattering as it is, the comparison to Evans is not appropriate, and it is seen as great critical superficiality by Brad, who will begin, in the legendary liner notes of his albums, a true battle for the affirmation of his own musical and philosophical vision.
The “Vol. 3” released in '98, is, like the first volume of the series, a studio work. Its subtitle is simply, “Songs”. And it is precisely the song form that interests Mehldau the most, who discovers in these pieces the possibility to wonderfully reconcile melody and improvisation, lyricism and virtuosity. An album etched on sweet melancholies, old memories. The work is composed of 10 tracks; 5, beautiful, written by Mehldau, plus 3 standards not too frequented, plus 2 “pop” jewels: the extraordinary “River Man” by Nick Drake, and “Exit Music (For A Film)” by Radiohead.
From the first moments of “Song-Song”, which opens the record, one senses a feeling of wide respiration, of mastering one's means. Beautiful arrangement of bass and piano and a beautiful start to the improvised part, launched by a simple yet sensitive fill of offbeat drums that recalls the ancient flavors of the fill of “So What”, on “Kind Of Blue”. Follows “Unrequited”, a fast yet lyrical piece where Mehldau performs a true miracle: a solo of such complexity and beauty, flowing like the waves of the stormy sea, in a crescendo of emotions that takes your breath away! His independence of hands recalls the great Glenn Gould. He manages to improvise on two levels simultaneously, creating contrapuntal melodic lines that chase each other, intersect, always remaining clear and distinct. Not satisfied, he adds a third degree of freedom in his improvisation: the difference in time and meter between the two hands, for example, a fast four-four with the right while the left goes on a medium pace of low notes, in 5/4. A thing that would baffle even a good drummer. For a pianist, however, it is simply phenomenal, especially considering that at the same time even the choice of the notes played is perfect. I don't know how much Mehldau could have studied at the desk the architecture of this solo, or whether it came out that way, by stream of consciousness, the fact is that the result is incredible. Excellent the reinterpretation of “Bewitched, Bothered And Bewildered” by Rodgers & Hart, and the memory runs to the immortal interpretation that Ella Fitzgerald gave in the distant '56...
A separate chapter is deserved by the beautiful “River Man” by Drake, an already splendid track, in which Brad unfolds all the lyricism, and “Young At Heart”, a piece that evokes childhood. The beginning is very delicate, and you can hear the sound of a music box. Young age is recalled to mind with subdued, courteous tones, careful not to hurt, as if to cradle the very concept of childhood, treated like a fragile shell. But suddenly the shell shatters, and a subtle anguish begins to grow, until it explodes into an impotent sob of despair, in the certainty that that sweet period of life and emotions is impossible to repeat. An interpretation from a great artist.
Sorry if I have gone on too long...
Loading comments slowly
