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Scott Timberg on Creative Destruction

Brad Mehldau’s LA Years

January 26, 2011 by Scott Timberg

ACCLAIMED jazz pianist Brad Mehldau, who has become, probably, the most celebrated jazz instrumentalist of his generation, was in town this weekend, performing at Disney Hall. (Quite a good concert – Chris Barton’s review here — with both a chamber orchestra and a percussion-heavy combo, though I think he’s best in a club in a trio format.)

He made a brief mention, in between songs, to his years in LA, and how much of his last record, Highway Rider, was inspired by driving around California. He also mentioned how New Yorkers don’t “get” LA’s car culture.

It all made me think back to the rainy evening, in 1998, in which I had a dinner interview with Mehldau during his time living here. (This was for the now defunct New Times LA.) We met at the Bourgeois Pig coffee shop — he was living nearby, on Argyle, I think — and I remember seeing him in the doorway with the hood of what I think was a yellow coat pulled over his head. He was more comfortable and easy to get along with than I expected from his brooding stage presence and recent drug history.

LA, he told me over dinner next door, at La Poubelle, had thrown him in with musicians with a wider range of interests than what he’d found in New York. We talked about Bill Evans and McCoy Tyner, of course, but also Stereolab and the scene at Largo, where he had fallen under the spell of Jon Brion, who would eventually produce several of his records. (Including one called “Largo.”)

“It keeps me away from the trap of New York,” he said of musical life here. “All these guys studying bebop records. What’s great about jazz for me is that it’s always had a sacrilegious attitude toward taking and borrowing — it’s got Tin Pan Alley melodies, classical music, African rhythms. So I get a little antsy about any talk about ‘jazz purists.’ “

(Of course, it didn’t help than it New York he was drinking too much. “But it was the heroin that really took me down.”

When we talked about Bill Evans, by the way, Mehldau said he was more inspired by “the interaction that was going on in the rhythm section” than Evans’ often twilit playing.)

Mehldau has been back in New York for some years now, and while LA may have been crucial for the blossoming of his eclecticism, he’s joined a very long list of West Coast jazzers — Ornette, Mingus –who’ve had to take off for New York to gain a larger audience.

I can say that if I’d been told, after that dinner, that Mehldau would become the biggest 40ish jazz artist and that Joshua Redman would be playing as an (inspired) sideman in his band, I’d have not believed it.

Filed Under: brad mehldau, jazz, Los Angeles, new york

Comments

  1. Mark Anthony Given a/k/a The King of Montana says

    January 26, 2011 at 12:54 pm

    LOG LINE 1
    I need an agent please?
    Brought together under the Big Sky of Montana by lust, wanderlust and suicide, after a first night out bar hopping DEBBIE tells MARK that she has came to Montana with her 12 year old daughter BRITNI to kill herself and her daughter on her 40th birthday. “Paradise Montana” is “memory play” akin to Tennessee William’s “Glass Menagerie,” and character and dialog of Elmore Leonard loosely described as “Lolita meets On the Road.” You will question whether MARK should be Knighted or jailed at the end of the film.
    http://paradisemontana.blogspot.com
    http://paradisemontanathemovie@yahoo.com

    (I apologize if this inappropriate Brad. Please forgive screenplaygorrillatactics.

Scott Timberg

I'm a longtime culture writer and editor based in Los Angeles; my book "CULTURE CRASH: The Killing of the Creative Class" came out in 2015. My stories have appeared in The New York Times, Salon and Los Angeles magazine, and I was an LA Times staff writer for six years. I'm also an enthusiastic if middling jazz and indie-rock guitarist. (Photo by Sara Scribner) Read More…

Culture Crash, the Book

My book came out in 2015, and won the National Arts & Entertainment Journalism Award. The New Yorker called it "a quietly radical rethinking of the very nature of art in modern life"

I urge you to buy it at your favorite independent bookstore or order it from Portland's Powell's.

Culture Crash

Here is some information on my book, which Yale University Press published in 2015. (Buy it from Powell's, here.) Some advance praise: With coolness and equanimity, Scott Timberg tells what in less-skilled hands could have been an overwrought horror story: the end of culture as we have known … [Read More...]

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