On Friday, January 26th, I finally was able to attend a concert after almost a year in the always beautiful Maison Symphonique. I had the opportunity to witness for the first time the art of Brad Mehldau, a musician whose work I consider to be contemplative in nature, allowing us to lose ourselves and enjoy being present, admiring the prayer-like style of the musician.
As I sat in the mezzanine just behind the small precipice that led to the main floor, I was struck by the purity and lovely honesty of Mehldau’s performance. What kept bubbling up in my spirit in between songs and in my ride home was the Bible verse found in Philippians 4:8 – “Finally, brethren, whatever is true, whatever is honourable, whatever is right, whatever is pure, whatever is lovely, whatever is of good repute, if there is any excellence and if anything worthy of praise, dwell on these things.” – It is in the “whatever”s and the “any”s in that verse that kept being highlighted in my spirit, giving me a truer freedom to enjoy and truly dwell in the excellence that is art no matter how it comes, as long as it showcases at least one of those adjectives.
Mehldau’s ability to interpret, compose, and improvise was weaved throughout the concert. The setlist, a seamless blend of interpretations and original compositions showcased his extraordinary talent. Familiar tunes were reborn under his touch, transformed into something new yet familiar and nostalgic. It was a testament to how music can be both a reflection of the past, even if it is as recent as Radiohead or as far away as Gershwin and a step into the future.
One of the most memorable musical aspects of his performance was his very distinct left-hand playing. The busy, ‘jumping’ left hand, evocative of the stride piano style, laid a rhythmic foundation over which the right hand did its own thing. This contrast created a dynamic musical conversation that made the songs a Meldhau one.
Throughout the concert, there was a palpable sense of unity and meditation scattered among the audience. Among the rustling of winter jackets and the coughs of winter amplified by the acoustics of the venue you could see tens of heads bobbed in unison, moving back and forth as if in prayer in front of the wailing wall. This communal rhythm created a sense of dwelling in the moment and doing so as if the same neurons and goosebumps got synced to the grand piano being played before us.
Remarkably, Mehldau’s performance was delivered without the aid of sheet music, a testament to his deep connection with the piano and the music. This was particularly evident during the four encores, each delivered with a spontaneity and intimacy that made it feel like a personal conversation with each member of the audience.
The setlist featured a mix of Mehldau’s original compositions like “John Boy,” “The Falcon Will Fly Again,” “In the Kitchen,” and “Color Bars,” alongside his particular interpretations of works by other artists like Radiohead’s “Optimistic” and Elliott Smith’s “Satellite” and “Color Bars”.
Moreover, his choices of Beatles classics like “She Said She Said” and “Golden Slumbers,” George Harrison’s “If I Needed Someone,” and Paul McCartney’s “Maybe I’m Amazed” reflect his deep connection with the canonized music of the Liverpool quartet. His inclusion of Neil Young’s “Don’t Let It Bring You Down,” Bob Dylan’s “Don’t Think Twice It’s All Right,” and Bobby Timmons’ “Dis Here” showcased his versatility and respect for a diverse range of musical genres and the greats that came before him no matter the genre.
The concert was not just a musical event; it was a connection to purity, beauty, and excellence. It invited us to pay attention a little longer, to be aware and feel at ease in the music and to look for the blessings in life no matter how fleeting they could be. As I left the Maison Symphonique that evening, I carried with me not just the memory of a great concert but a renewed appreciation for the power of music to touch the soul and reflect the beauty of God’s creatures and their creations.
Review – Ricardo D. Flores
Photos – Remi Deschenes & Ricardo D. Flores
