When something’s broken, it’s always wise to check the manual. That’s what the jazz pianist and composer Brad Mehldau does on his new Finding Gabriel, an album born of grief and confusion over crumbling institutions, shattered societal guardrails, and the prevailing sense of things falling apart. Trying to make some sense of these beleaguered times, Mehldau searched the Scriptures. “Finding Gabriel came after reading the Bible closely for the last several years,” he explains. “The prophetic writing of Daniel and Hosea resonated in particular, as well as the wisdom literature of Job and Ecclesiastes, and the devotional words of Psalms. The Bible felt like a corollary and perhaps a guide to the present day—one long nightmare or a signpost leading to potential gnosis, depending on how you read it.” So the album is a Bible study, but perhaps not in the way you’d expect. There’s no attempt here to summarize Judeo-Christian dogma; instead, Mehldau preserves the voice of the Bible as a library of human experience– the collected testimonies of migrants, asylum seekers, wayfaring strangers, and prophetic voices pleading for the Kingdom to come. It’s an album about life amidst chaos, and if it doesn’t settle on any answers, it upholds the search itself as something holy in its own right; something that binds us with the great cloud of witnesses from the past.
Mehldau’s immersion in ancient wisdom is well-annotated, the liner notes appending a textual citation to each of its 10 songs. Not that you necessarily need them: Even the biblical novice will register “Born to Trouble,” which juxtaposes the deep blue of Mehldau’s piano against the antiseptic indifference of an analog synthesizer, as a meditation on the plight of Job; “Striving After the Wind,” which chases vanities through a haze of loops and squelches, as a repartee with the Teacher from Ecclesiastes. Even so, anyone who plans attendance in Mehldau’s Bible study will want to do the readings in advance. You might even supplement with Jesus’ words from John 10:27 (Mehldau’s citations keep it Old Testament, but there’s no reason we should stick to such arbitrary dispensations): “My sheep hear my voice, and I know them, and they follow me.” Or this, from Psalm 55: “I utter my complaint and moan, and he hears my voice.” The ancient wisdom posits time and again that voice is a connection point between humanity and the divine, and Mehldau seems to grasp the theological weight of that on Finding Gabriel, a largely lyric-less album that’s bedecked with a host of vocalizing witness-bearers. When those voices do congeal around actual words, they tend to be faint expressions of need; one song opens with a slow and bleary exhalation, then Mehldau’s simple request to “make it all go away”– a crude prayer language, perhaps, but as relatable as any Psalm. Much more often, voices unite in wordless supplication: They appear in “The Garden” one after another, like so many stars appearing in the night sky, cooing and moaning as the song’s weariness builds toward ascent. Just as the sheep know the call of their shepherd, you’ll know from the timber of these voices that they are searchers and seekers, lifting up holy groanings even when intellect and vocabulary fail them.
The voices that swoop and dive through these soundscapes– not unlike the unruly choirs that add vocal ballast to Kamasi Washington’s records– include such luminaries as Kurt Elling, Becca Stevens, and Gabriel Kahane. You’ll hear Mehldau himself speak up a time or two, but even when he’s not at the mic, the whole of Finding Gabriel bears his unmistakable voicings. Mehldau is justly celebrated for his brainy, deeply conceptual solo recordings (After Bach, 10 Years Solo Live) as well as records that expand the lexicon of the traditional jazz trio (Seymour Reads the Constitution!), but Finding Gabriel feels closer to Largo or Highway Rider— albums that required a broader palette to capture the eccentric colors of his imagination. It’s an expansive record that consolidates much of what Mehldau’s done before but also carries the thrill of experiment and discovery: “The Garden” opens with a narcotic keyboard haze learned from his beloved Radiohead, its gauzy reverie ultimately blasted open with righteous skronk and howl from trumpeter Ambrose Akinmusire and breakneck drumming from Mark Guiliana. “Proverb of Ash” captures the meditative feel of Mehldau’s solo piano recordings, only here he accompanies himself on synths and drum loops, the result a wonderfully rickety one-man-band groove. “O Ephraim” is an elegiac cycle that thrums with anticipation, while “St. Mark is Howling in the City of Night” teeters from an arena-rock backbeat into the delicate swell of voices and strings. The animating tension in all of this is between Mehldau’s usual intellectual robustness and his willingness to negotiate new sounds and textures; you can tell that there’s concrete ideological scaffolding holding all of this together, yet much of the album is played on keyboards and synthesizers that were new to Mehldau, keeping these performances just slightly off-kilter and exploratory.
The voices themselves are what make the greatest impression, yet they’re subsumed by the voice you hear on “The Prophet is a Fool,” a composition so formally audacious and thematically brash that it casts a shadow over everything else on Finding Gabriel. Here, Mehldau rolls the tape from a political rally, including the voice of the 45th President of the United States inciting his acolytes into fear-mongering isolationism. Mehldau himself verbalizes blunt commentary. It’s unsubtle, but perhaps Mehldau would tell you that it’s pitched at just the right frequency for a brutish age. And maybe there’s more to it than it first seems. With the rally scene, the pianist provides us with a study in discipleship– a reminder that we all have voices to whom we’re accountable, whether they’re heads of state or simply ragged figures testifying in the desert, ratifying the prophets who came before them. Either way, sheep always recognize the sound of their shepherd. The Bible tells us so; Brad Mehldau bears witness.