ARTIST
Brad Mehldau
ALBUM TITLE
“Ride into the Sun”
LABEL
Nonesuch
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While this latest project was hardly necessary to confirm Mehldau’s absolute freedom of thought and action in shaping his artistic path, one cannot help but marvel at it while listening. His revival of Elliott Smith’s music — Smith was a tormented figure and for that reason considered iconic — is probably the most extreme point, at least so far, in the list of Mehldau’s escapades (the conductor will not mind if we borrow a term he used for the pianist). These ventures can be unsettling, even disconcerting, yet pop recoveries have always been a key part of this compelling game, and Mehldau’s ability to transform the things he loves through meticulous craftsmanship remains truly unique.
On the one hand, he filters material in a deeply personal way, guided by an open and curious mind. On the other, he proceeds with the confidence of someone who knows he can rely on nearly unlimited individual resources. Above all, his approach is distinguished by an acute attention to sound, detail, and the exploration of harmonic and melodic possibilities. These are not convenient choices, as noted, and Smith becomes almost a definitive authority in demonstrating that. The album contains sixteen tracks: four original compositions fully immersed in the idiom, and two covers, by Nick Drake and Big Star.
The arrangements make extensive use of a rich palette, achieving a polished fullness that moves between chamber and orchestral writing, with moments of grandeur. At the same time, the blend maintains a particular inspiration that inclines toward rock or folk, while preserving jazz accents within a creative framework that remains distinctly American. The result is a fully coherent songbook, even with the six outside pieces, which are absorbed seamlessly to express full stylistic affinity. Through them, Mehldau sheds new light on Smith by isolating subtleties of style and probing emotional depths.
The music is intense and refined. Not everything flows effortlessly, and at times it approaches saturation, yet it always exerts a strong impact and never loses its balance.
This album is highly recommended for the varied listening experiences it can catalyse and inspire.
Sandro Cerini
DISTRIBUTED BY
Warner
LINEUP
Brad Mehldau (piano), with Daniel Rossen (vocals, harmonica), Chris Thile (mandolin, vocals), Felix Moselholm (cello), John Davis (bass, electric bass), and Matt Chamberlain (drums, percussion, vocals).
Orchestra: Alex Sopp (flute), Jessica Han (flute), Agnes Marchione (clarinet), Adrian Morejon (bassoon), Eric Reed (horn), Ellen DePasquale (violin), Austin Wulliman (violin), Christina Courtin (violin), Laura Frautschi (violin), Joanna Maurer (violin), Derek Ratzenboeck (violin), Dov Scheindlin (viola), Mario Goto (viola), Nadia Sirota (viola), Sophie Shao (cello), Michael Haas (cello), Caitlin Sullivan (cello), and David Grossman (double bass).
Conductor: Dan Coleman.
RECORDING DATE
Brooklyn, January 24 and 28, 2025.