Of all the young jazz artists composing and performing today,
pianist Brad Mehldau has been the most likely to cross over into
the rock and pop world. Not to become a mainstay on Top 40 charts,
mind you, but to successfully incorporate a rock ‘n’ roll ethos
into his jazz idiom.
In the past Mehldau has dipped into the songbooks of more
established acts, like the Beatles and Paul Simon, as well as
covering less obvious sources like Nick Drake and Radiohead. So
it’s fitting that for his latest, Largo, he pair up with Los
Angeles producer Jon Brion, whose own brand of sonic perfection has
spawned great albums by Elliott Smith and Aimee Mann.
This union of producer and artist mostly pays off on Largo’s
dozen tracks, most notably in the inclusion of vibes, woodwinds and
electronics that ornament Mehldau’s piano-bass-drums trio. The
oboes and French horns that highlight tunes like “When it Rains”
and “Dusty McNuggett” add that little bit of baroque sheen that has
become Brion’s trademark. While his flourishes add to the organic
warmth of the album, he sometimes goes overboard: The dueling
basses in the left and right channel during “You’re Vibing Me” seem
like the ultimate in rock-producer dorkdom.
Mehldau’s original pieces show growth and an ability to adapt to
new sounds and influences. “Sabbath” is the most radical of the
bunch, a sort of cacophonic experiment with the piano being
mutilated through a Leslie speaker and wah-wah pedal.
The main hang-up with Largo is Mehldau’s choice of covers. He
goes to the Beatles well twice, for the so-so “Dear Prudence” and a
vibes-driven “Mother Nature’s Son.” And as before, he deconstructs
more OK Computer-era Radiohead, this time with a marathon “Paranoid
Android.” His affection for moody British composers is well
established, so why keep banging the same drum? This record would
benefit from a deeper look into other possible sources, beyond Paul
McCartney and Thom Yorke.
While Largo is a good record in its own right and a further
expansion of Mehldau’s already wide breadth, it still feels like a
half-realized project. Both men have expanded their craft with this
album; here’s hoping future collaborations will yield more firm
results.
