Seymour Reads the Constitution! Brad Mehldau Trio

• 1Spiral08:33
• 2Seymour Reads the Constitution08:06
• 3Almost Like Being in Love05:41
• 4De-Dah08:46
• 5Friends08:15
• 6Ten Tune10:07
• 7Great Day05:54
• 8Beatrice08:54
• Total Runtime01:04:16

Info for Seymour Reads the Constitution!

Brad Mehldau Trio's new album, Seymour Reads the Constitution! , is out now on Nonesuch Records. The pianist and his longtime trio, which includes drummer Jeff Ballard and bassist Larry Grenadier, perform three Mehldau originals combined with interpretations of pop songs (Paul McCartney, Brian Wilson), jazz tunes (Elmo Hope, Sam Rivers), and one work from the American songbook (Frederick Loewe's "Almost Like Being in Love").

"This is sumptuous, collective improvisation of the highest order," exclaims The Arts Desk in a five-star review. "Mehldau's stylistic range is astonishing ... It's so good, it sounds effortless ... Gorgeous."

"There are few artists plying their trade in these trying times whose music can be described as transformative. The Brad Mehldau Trio manages this feat at nearly every stop on their wildly popular world tours and once again with a new release," says the Christian Science Monitor. "Brad Mehldau and his mates make it all sound effortless and imbued with the joy of discovery."

The Trio's previous release, Blues and Ballads (2016), received critical acclaim, with the Guardian saying, "Mehldau is a genius (and a still-improving one) at taking predictable materials to unpredictable destinations … These are old songs subjected to an old jazz method, but brought scintillatingly into the here and now." Mehldau released the solo album After Bach earlier this year; the album, which debuted at No. 1 on the Billboard Jazz Album chart, comprises the pianist/composer's recordings of four preludes and one fugue from J.S. Bach's Well-Tempered Clavier, each followed by an "After Bach" piece written by Mehldau and inspired by its WTC mate. The Financial Times said of After Bach, "As each piece gathers momentum, fresh melodies emerge, change shape and are developed anew over voicings that shimmer, fade and rumble to a peak. And, following Bach, Mehldau's improvisations unfold with an iron inner logic, a reminder … that Bach, in his day, was admired more for his abilities as an improviser than for his written scripts."

"A straightforward acoustic jazz trio album, 2018's Seymour Reads the Constitution! nonetheless holds surprises for longtime Brad Mehldau fans. Moving away from his genre-bending collaboration with Chris Thile and his equally cross-pollinated exploration of J.S. Bach's classical pieces, After Bach, Mehldau settles into this warmly rendered set of originals and covers that fits nicely into his overall discography. Joining the pianist are his longtime associates bassist Larry Grenadier and drummer Jeff Ballard. Together, they've recorded often since the early 2000s, with Grenadier having worked regularly with Mehldau since the mid-'90s. Consequently, they play with an almost preternatural sensitivity, accenting each other's lines and swinging with an easy, mutative pulse. It's a sound that brings to mind Keith Jarrett, whose iconic trio is a clear touchstone for Mehldau here. The influence is especially felt on the aptly named Mehldau original "Spiral," in which the pianist lays down a descending circular theme in a roiling time signature that has the dreamy feel of riding on a train with your eyes closed. They conjure an equally Jarrett-esque vibe on their sophisticated reading of Sam Rivers' classic "Beatrice," with Mehldau moving in and out of tonality during his kinetic, serpentine solo. As intense as that track can be, it never gets out of hand. In fact, much of the album has a balmy, laid-back quality as if it were recorded during a sunny afternoon at home. That sunny atmosphere is also at the core of the title track, in which Mehldau and Grenadier often share the melody, bumping up against each other in a bluesy dance. Elsewhere, they launch into a sprightly rendition of the Lerner & Loewe standard "Almost Like Being in Love" and offer up a bright, waltz-like take on the Beach Boys' "Friends," the latter of which is so friendly you can almost sense Mehldau and his bandmates smiling at each other." (Matt Collar, AMG)

Brad Mehldau, piano
Larry Grenadier, bass
Jeff Ballard, drums

Recorded and Mixed by James Farber at Avatar Studios, New York, NY
Mastered by Greg Calbi at Sterling Sound, New York, NY
Executive Producer: Robert Hurwitz
Produced by Brad Mehldau

Brad Mehldau
Jazz pianist Brad Mehldau has recorded and performed extensively since the early 1990s. Mehldau’s most consistent output over the years has taken place in the trio format. Starting in 1996, his group released a series of five records on Warner Bros. entitled The Art of the Trio (recently re-packaged and re-released as a 5-Disc box set by Nonesuch in late 2011). During that same period, Mehldau also released a solo piano recording entitled Elegiac Cycle, and a record called Places that included both solo piano and trio songs. Elegiac Cycle and Places might be called “concept” albums made up exclusively of original material with central themes that hover over the compositions. Other Mehldau recordings include Largo, a collaborative effort with the innovative musician and producer Jon Brion, and Anything Goes—a trio outing with bassist Larry Grenadier and drummer Jorge Rossy.

His first record for Nonesuch, Brad Mehldau Live in Tokyo, was released in September 2004. After ten rewarding years with Rossy playing in Mehldau’s regular trio, drummer Jeff Ballard joined the band in 2005. The label released its first album from the Brad Mehldau Trio—Day is Done—on September 27, 2005. An exciting double live trio recording entitled Brad Mehldau Trio Live was released on March 25th, 2008 (Nonesuch) to critical acclaim. On March 16, 2010 Nonesuch released a double-disc of original work entitled Highway Rider, the highly anticipated follow up to Largo. The album was Mehldau’s second collaboration with renowned producer Jon Brion and featured performances by Mehldau’s trio—drummer Jeff Ballard and bassist Larry Grenadier—as well as percussionist Matt Chamberlain, saxophonist Joshua Redman, and a chamber orchestra led by Dan Coleman. In 2011 Nonesuch released Live in Marciac – a two CD release with a companion DVD of the 2006 performance, and Modern Music, a collaboration between pianists Brad Mehldau and Kevin Hays and composer/arranger Patrick Zimmerli. In 2012 Nonesuch released an album of original songs from the Brad Mehldau Trio – Ode - the first from the trio since 2008’s live Village Vanguard disc and the first studio trio recording since 2005’s Day is Done. Ode went on to garner a Grammy-Nomination. Nonesuch released the Brad Mehldau Trio’s Where Do You Start, a companion disc to the critically acclaimed Ode, in the fall of 2012. Whereas Ode featured 11 songs composed by Mehldau, Where Do You Start comprises the Trio’s interpretations of 10 tunes by other composers, along with one Mehldau original. In 2013 Mehldau produced and performed on Walking Shadows, the acclaimed Nonesuch release from Joshua Redman. 2013 also saw a number of collaborative tours including a duo tour with mandolin virtuoso Chris Thile, piano duets with Kevin Hays and a new electric project with prodigious drummer Mark Guiliana entitled “Mehliana.” Mehliana: Taming the Dragon, the debut release by Mehliana, was released to critical acclaim in early 2014.

Mehldau’s musical personality forms a dichotomy. He is first and foremost an improviser, and greatly cherishes the surprise and wonder that can occur from a spontaneous musical idea that is expressed directly, in real time. But he also has a deep fascination for the formal architecture of music, and it informs everything he plays. In his most inspired playing, the actual structure of his musical thought serves as an expressive device. As he plays, he listens to how ideas unwind, and the order in which they reveal themselves. Each tune has a strongly felt narrative arch, whether it expresses itself in a beginning, an end, or something left intentionally open-ended. The two sides of Mehldau’s personality—the improviser and the formalist—play off each other, and the effect is often something like controlled chaos.

Mehldau has performed around the world at a steady pace since the mid-1990s, with his trio and as a solo pianist. His performances convey a wide range of expression. There is often an intellectual rigor to the continuous process of abstraction that may take place on a given tune, and a certain density of information. That could be followed by a stripped down, emotionally direct ballad. Mehldau favors juxtaposing extremes. He has attracted a sizeable following over the years, one that has grown to expect a singular, intense experience in his performance.

In addition to his trio and solo projects, Mehldau has worked with a number of great jazz musicians, including a rewarding gig with saxophonist Joshua Redman’s band for two years, recordings and concerts with Pat Metheny, Charlie Haden and Lee Konitz, and recording as a sideman with the likes of Michael Brecker, Wayne Shorter, John Scofield, and Charles Lloyd. For more than a decade, he has collaborated with several musicians and peers whom he respects greatly, including the guitarists Peter Bernstein and Kurt Rosenwinkel and tenor saxophonist Mark Turner. Mehldau also has played on a number of recordings outside of the jazz idiom, like Willie Nelson’s Teatro and singer-songwriter Joe Henry’s Scar. His music has appeared in several movies, including Stanley Kubrick’s Eyes Wide Shut and Wim Wender’s Million Dollar Hotel. He also composed an original soundtrack for the French film, Ma Femme Est Une Actrice. Mehldau composed two new works commissioned by Carnegie Hall for voice and piano, The Blue Estuaries and The Book of Hours: Love Poems to God, which were performed in the spring of 2005 with the acclaimed classical soprano, Renee Fleming. These songs were recorded with Fleming and released in 2006 on the Love Sublime record; simultaneously, Nonesuch released an album of Mehldau’s jazz compositions for trio entitled House on Hill. A 2008 Carnegie Hall commission for a cycle of seven love songs for Swedish mezzo-soprano Anne Sofie von Otter premiered in 2010. Love Songs, a double album that paired the newly commissioned song cycle, with a selection of French, American, English, and Swedish songs that Mehldau and von Otter performed together, was released in late 2010 (on the Naïve label) to unanimous praise. In 2013 Mehldau premiered and performed Variations on a Melancholy Theme a large format orchestral piece which was performed with both Orpheus Chamber Orchestra and Britten Sinfonia.

Mehldau was appointed as curator of an annual four-concert jazz series at London's prestigious Wigmore Hall during its 2009-10 and 2010-11 seasons, with Mehldau appearing in at least two of the four annual concerts. In late January 2010 Carnegie Hall announced the 2010-11 season-long residency by Mehldau as holder of the Richard and Barbara Debs Composer’s Chair at Carnegie Hall—the first jazz artist to hold this position since it was established in 1995. Previous holders include Louis Andriessen (2009–2010), Elliott Carter (2008–2009), and John Adams (2003–2007).

This album contains no booklet.