This blog has featured Brad Mehldau quite a bit, and for good reason: he’s the goat. The piano goat. But who is the singer-songwriter, indie-grunge, acoustic guitar goat? Elliott Smith, of course. And sometimes, wonderfully, legends of different musical worlds crash into each other. This happened in LA in the late 90s when Brad went to an open mic and saw Elliott sing and play guitar. As he described to us Saturday night in Oakland, his mind was blown. Over the next five years, the two got to play together a few times (see below).
Last year, Brad released an album featuring Elliott’s music, something he says he long wanted to do. It’s a beautiful tribute; the arrangements are lush and full but never detract from Elliott’s melodies. For the album, Brad recruited the one and only Chris Thile to play mandolin and sing as well as Daniel Rossen on guitar + vocals, Felix Moseholm and John Davis play bass, and Matt Chamberlin (Pearl Jam!) on drums (and “screams” on “Everything Means Nothing to Me”).
Earlier this year, Brad announced that he would be doing a truncated tour behind the album. For the tour, he would be joined by Chris Thile, Matt Chamberlin, John Davis, Blake Mills on guitar (!), plus an orchestra conducted by Dan Coleman.
I have been a Chris Thile and Blake Mills fan since 2016-17ish. I was introduced to Chris when I went with a friend from WKCR to see the Punch Brothers at Rockwood Music Hall (RIP). It was pretty mind blowing, especially as someone who hadn’t seen a ton of bluegrass at that point. So, thank you, Charlie. I fell for Blake not long thereafter, first, via his album Heigh Ho. I love love love “If I’m Unworthy” and “Don’t Tell Your Friends About Me.” Such cool, interesting, genre-bending songs. Great guitar tones + lines, and I also love his style of singing. Zach described it once as “pushing” words out which I think is spot on.
This super group would visit LA, Oakland, Portland, OR, and Groton, MA. As alluded to in my previous post, I live in New York (Prospect Heights, Brooklyn aka heaven on earth, to be precise). Ugh. I figured I would take the L on this one, but then my concert-committed, jazz-loving, cool CA-based mom asked if I would consider flying out for the Oakland show (and long weekend with fam). Side-note: my parents were introduced to Elliott via this album and have since become big fans which I love. My mom recently sent a pic of Sweet Adeline sheet music; she’s learning it on piano. Of course, I will and have traveled for shows. Lesser shows included. I would be there.
My sweet family and I had dinner in Oakland at Pomet before the show. It was tasty, although the vibes kind of made me miss BK. Contrary to stereotypes re Californians and NYers, I find people much more friendly and open in NY (BK especially). Bay Arians (?) are of a cooler temperament. And I like talking to people. I like people generally, in fact, which doesn’t seem to be the universal vibe in SF these days.
Anyways, somewhat surprisingly given our accumulative years in the Bay + frequent concert attendance, none of us had been to the Paramount. It’s absolutely gorgeous. Art-deco with spectacularly high ceilings and gold painted intricately carved wooden walls. It reminded me a bit of the glory of King’s Theatre in Flatbush, but it’s much narrower theatre which definitely is better for the sound. I felt much anticipation seeing Blake’s guitars (including a really gorgeous sunburst red hollow body Gibson).
The band + orchestra basically played the entire album! For “I Better Be Quiet Now,” it was just Brad + the orchestra at first. Brad’s treatment of that song is so incredible. The solo-piano moments were some of my favorites. His intense familiarity with these songs and their melodies is obvious. Hearing him weave in and out and all around Elliott’s songs is special. For me, the highlights were I Better Be Quiet Now, Between the Bars, The White Lady Loves You More, Color Bars, and (the encore) Son of Sam.
Two songs made me weepy. I Better Be Quiet Now and Thirteen (the only non-ES cover). I love Thirteen so much. I think it is one of the most tender, heartfelt, gorgeous songs . I love Elliott’s version, and also the Bedouine led trio + Wilco versions. (See below!) And I love the Big Star original! Brad’s version was stunning, heart-breaking. Entirely melody driven and true to the song. Not that jazz-y (tbh none of the show/album was/is, and I am glad about that, no shade to jazz, obviously).
For me, the show was really about the music, a true tribute to how special these songs are/Elliott’s songwriting is. But, of course, the band was wonderful. Chris Thile absolutely shredded on Southern Belle. And, throughout, watching him listen in ecstasy to Brad playing these songs was a glorious experience unto itself. Blake added really cool noise to a lot of the songs and also sang harmonies. Matt Chamberlin was noticeably incredible, tight as hell. It was also interesting to hear Brad play with a non-jazz drummer. Jazz drumming is so specific. This was a different experience in a cool way.
Grateful! Grateful I made it out west, and for my family and for Brad and the band and the orchestra.
ES 4ever. Thank you for the songs.
