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Let's get a few things straight. First, Mehldau has lost none of his pianistic brilliance. If you think so, give a listen his outro solo on "Dropjes." Secondly, he most certainly does know how to inject his unique pianism into Jon Brion's soundscapes. Check out how integrated and wonderful-sounding his piano is on "Paranoid Android," which showcases everything that's great about this record--the seemless integration of jazz and pop elements, the extraordinarily clear piano sound, the discrete use of electronics, the perfect translation of a pop sensibility into an authentic jazz setting. Third, there's noting wrong with Melhdau's vibes playing. It's a little naive and ideosyncratic, but so what?
Mehldau has always been a master of moods. Nothing has changed here; what he's done, in my view, is just brilliantly expand his musical/emotional palette. This, quite naturally, doesn't sit well with everyone. Tough luck.
If you're down with Dave Douglas' Freak In, The Bad Plus, Happy Apple, Chris Destrin, etc., you'll dig it. Otherwise, probably not.
With "Largo," we now have to be specific about which Brad Mehldau we're talking about. If subsequent albums follow suit, you may now have to qualify whether you like "all of Mehldau" or "back when he played straight jazz." This isn't Herbie Hancock's "Rock It," by any stretch, but it heralds a sea change in the direction of Mehldau's music. Fans may have to tread carefully over the selections here.
The first song, "When it Rains" magically evokes a sorrowful warmness that turns a listener inward. The piano is unmistakably Mehldau, but there's a background buzz and a snare drum you can't place. It introduces a new direction by playing just enough of what you know from Mehldau to follow along. It's hello and goodbye. Following compositions hasten the pace of the transition. So, when you reach "Sabbath," led by a buzzsaw electric guitar reined-in just enough to co-exist with Mehldau's sound, you may decide there's not enough remaining of what you loved about his music to follow down this fork in the road.
It's unfair for me to want to keep Mehldau boxed-in for fear that he'll drift into the fusion/lounge catalog never to return. There's no mistaking that "Largo" is consistent with the quality of work we expect from Brad Mehldau. But the sound is too far gone for me. I hope that there's enough in the jazz trio work he finds sustaining so that he'll come back....