Brad Mehldau plays Elliott Smith
The world of music often unfolds in unexpected intersections, and for jazz pianist Brad Mehldau, one of the most profound encounters was made in 1998 at Café Largo in Los Angeles. It was there, playing alongside Jon Brion, that Mehldau first encountered the enigmatic singer-songwriter Elliott Smith. The spark ignited on a Friday night, centered around the raw energy of the song “Bottle Up and Explode!”, a piece that immediately captivated Mehldau.
Intrigued by Smith’s unique harmonies and subtly eccentric arrangements, Mehldau soon found himself drawn to the music, incorporating it into his sets at venues like the Fairfax Avenue club. This initial connection evolved into a deep artistic collaboration, allowing Mehldau to explore the emotional landscape of Smith’s songwriting.
Mehldau noted that the recognition was effortless. He explained that Elliott’s harmony resonated with him, likely because Smith possessed a remarkable ability to blend instrumentation—using both guitar and piano as writing tools. This duality allowed Smith to craft songs like “Tomorrow Tomorrow” and “Everything Means Nothing to Me,” each offering satisfying emotional depth through different musical approaches.
What truly bound the two artists was a shared understanding of musical tradition. Mehldau recognized in Smith a kinship with the greats of classical piano, citing that Smith had received classical training, which brought a sense of recognition to the melodic structure. It was this shared background in serious musicianship, despite different traditions, that fostered a feeling of kindred spirits.
The emotional core of Smith’s work lies in grappling with imperfect romance and self-destruction, finding beauty in the very pain of disappointment. This quality of deep, cathartic sadness is, Mehldau suggests, the magic of artistic expression—it allows listeners to experience profound emotions, transfigured through music.
The connection extended beyond performance. Mehldau recorded “Sky Turning Grey (For Elliott Smith)” for his 2010 album Highway Rider, featuring Joshua Redman and Jon Brion, cementing the bond. This project became a sonic reflection of their shared journey, weaving original compositions in conversation with Smith’s legacy.
As a leading interpreter of jazz and composer, Mehldau’s work already spans virtuosic explorations, ranging from serious jazz work with the Joshua Redman Quartet to interpretations of Radiohead and Nirvana. His musical journey demonstrates a constant push beyond the standard repertoire.
Following this period of deep immersion in Smith’s work, Mehldau shifted focus to his next endeavor, the album Fantasy & Reveries. This project is steeped in his lifelong piano obsessions, featuring original modern-classical compositions for solo piano. The resulting sound balances ecstatic and melancholic reflections on solitude, exploring music that ranges from the sublime to the deeply felt.
The process for this new album was markedly different from the Elliott Smith project; it was quicker, allowing Mehldau to focus on the expressive quality of brevity. It was a streamlined experience that allowed him to craft fourteen short, potent pieces that capture condensed emotions, proving that even in a new direction, the deep well of emotional resonance remains at the center of his artistry.
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