When people visit Saffron Hall for the first time, they are always surprised. Brad Mehldau – on the first night of his trio’s six European dates in June – was no exception. The clarity of the acoustic and the way the venue is embedded in the local community make it very unusual and special. The pianist was taken aback by the warmth of the audience’s response and support, and was effusive in his thanks for it.
It’s worth noting how strong the sense of community is. For the Saffron Walden Reporter – as a local friend had proudly showed me earlier in the day – there was really only one story this week: the local newspaper had cleared the whole of its front page, in order to emblazon a 72-point type headline right across it: “Saffron Hall Trust chief made an MBE.”
It was a great concert. The balance, the lightness of touch of the trio as a whole are astonishing, and in this hall one can really, truly, deeply hear it. Listening carefully becomes the natural thing to do, the only way to be…
One learnèd friend suggested to me the total rhythmic independence of Mehldau’s two hands might entitle promoters to describe this group as a quartet. I found myself concentrating on the way in which Felix Moseholm’s bass playing influences and colours the overall musical landscape. The ease and the conviction with which he places the ‘one’, the solidity and the flow of his ostinato/ ground bass playing seem to have an effect: they allow Mehldau astonishing freedom of rhythm and phrase length. A tune like Guinga’s “O Silêncio de Iara” (is there an unconscious echo of Cyndi Lauper’s “Time After Time”?) particularly welcomed that exploratory, baroque way of being for the pianist. Moseholm also plays with a gentleness that doesn’t force Jorge Rossy to test the very boundaries of silence, but rather inspires him.
There also seemed to be a cleverly constructed dramatic shape to the set, an uncoiling, an easing, a warming. Whereas the point of departure, the opening of “August Ending” is sinuous, knotty, chromatic, by the time the group played “Embers”, the three were all palpably enjoying the moment. And then, later, when we got to the final sequence of more major-ish standards, all British reticence from the audience had been cast aside, and it felt almost inevitable that that special vibe of a good concert, a strong feeling of communion in the room, the Saffron Walden audience would want to interject supportive applause at every possible opportunity.
Brad Mehldau’s apology at the end of the show, his incomprehension for the “shitshow” of his country attacking a sovereign nation also chimed well. Saffron Walden has, after all, been a haven for Quakers and pacifists since the 17th century. I hope he returns to Saffron Hall. (It’s radical Bristol tonight – Monday – and that will surely be very different, as will the subterranean, labyrinthine, citified Barbican tomorrow.)
SET LIST
August Ending (from “House on the Hill”)
Say Goodbye (from “Introducing Brad Mehldau”)
Sehnsucht (from The Art of the Trio Vol 3)
Blues Impulse
O Silêncio de Iara(Guinga)
Embers (from “House on Hill”)
Almost Like Being in Love (Lerner/Loewe)
Blame it on my Youth (Levant/Heyman)
Encore: Marcie from “Song to a Seagull” ( Joni Mitchell)
One Response
John Hepworth writes:
“The piece about Brad Mehldau at Saffron Hall was great. It was a lovely evening.
I live locally and what is great is that Angela Dixon who is the CEO – and linked to the Barbican – understands the opportunity of bringing top line jazz musicians to Saffron Hall.
It is located at County High School, and some years ago a local benefactor left a large amount of money for a Performing Arts Theatre, initially for students. Seats about 1100.
The Hall’s acoustics are tremendous, all seats have wonderful vision and sound. I go regularly to music events, and the big thing is that the musicians have good verbal contact with the audience.
They also run regular Jazz in the Foyer sessions.
Well worth a visit (free car parking as well).
Keep Music Live.
Regards, John Hepworth”