Music of Pat Metheny & Lyle Mays

Amazon.com
Pat Metheny and his keyboard collaborator, Lyle Mays, have drawn on diverse sources for their music, combining folk, jazz, country, Latin, and world elements into a tuneful and often electronic mix. Bob Curnow is a veteran of the Stan Kenton Orchestra, and part of his avowed intention here is to set some of the Metheny and Mays compositions within the Kenton style. In keeping with that model, Curnow has assembled a very big band, 20 members strong with five trumpets and five trombones. It's an arresting project, and Curnow has successfully reconceived the Metheny work, substituting layered acoustic winds where electric guitars and keyboards were, enriching the textures and supplying orchestral breadth to what was once more intimate music. Metheny's prettier tunes, such as the ballad "If I Could," take on a Henry Mancini-like luster in this new setting. The sectional play is polished and energetic, and there are plenty of good soloists, including tenor saxophonist Rob Lockart, trombonist Chuck Hughes, and guitarist Paul Viapiano, who frequently provides a sonic bridge between the worlds of Metheny and Curnow. The sound is audiophile quality and the music provides a new look at both Metheny's music and the big-band tradition. --Stuart Broomer

Music of Pat Metheny & Lyle Mays,Bob Curnow,Mama Foundation,Big Bands,Jazz,Jazz Music,Pop,Post-Bop

Average customer rating: Wonderful Splendid music to my ears Beautiful, Engaging, but not Explosive Une "entente cordiale" !

Metheny Mehldau Quartet Pat Metheny , and Brad Mehldau Manufacturer: Nonesuch ProductGroup: Music Binding: Audio CD Avant Garde & Free Jazz | Jazz | Styles | Music Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Jazz Fusion | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music General | Rock | Styles | Music General | Miscellaneous | Styles | Music Similar Items: Metheny / Mehldau Pilgrimage Pat Metheny Group - The Way Up - Live Back East The Third Quartet ASIN: B000MRNTKO Release Date: 2007-03-13

Tracks:

1. A Night Away
2. The Sound of Water
3. Fear and Trembling
4. Don't Wait
5. Towards the Light
6. Long Before
7. En La Tierra Que No Olvida
8. Santa Cruz Slacker
9. Secret Beach
10. Silent Movie
11. Marta's Theme (from "Passagio per il Paradiso")

Amazon.com

New Age-leaning guitarist Pat Metheny and melancholic pianist Brad Mehldau have such distinctive, even rarified, sensibilities (each an acquired taste for some listeners), that their teaming may have looked like a one-time commercial ploy in the beginning. But having found rewarding common ground and a receptive audience through their shared love of pop, Brazilian music and Americana, they likely will work together again. Recorded at the same time as their first album, a duo effort, Quartet takes a satisfying step forward in featuring the Mehldau trio's first-rate bass and drum team, Larry Grenadier and Jeff Ballard, on most of the tracks. Ranging from rhapsodic reflections to full-tilt fusion fare to loping, Wes Montgomery-inspired tunes--and let's not overlook that Asian-tinged song featuring Metheny on 42-string guitar--the music is sometimes a bit soft at the core. But when the stars are aligned, as on the effortlessly flowing, co-written opener, "A Night Away," and Metheny's charming "En La Tierra Que No Olvida," their partnership glows. It will be interesting to hear where they go from here. --Lloyd Sachs

Album Description

Quartet expands upon the "dream pairing" - begun by guitarist Pat Metheny and pianist Brad Mehldau on their 2006 Nonesuch collaboration, Metheny/Mehldau. This time they incorporate the members of Mehldau's trio, bassist Larry Grenadier and drummer Jeff Ballard, into a breathtakingly eclectic set, which ranges from the airy, pastoral "Don't Wait" to straight-up rocking in the slowly building "Towards the Light." Last year, London's Evening Standard described Metheny and Mehldau as "graceful, lyrical improvisers...It's a duo performance that deserves to tour." Now the pair is indeed hitting the road, along with Mehldau's two band-mates, in March for a month of shows throughout North America in support of Quartet. The 11 tracks that comprise Quartet were cut during the week-length December 2005 session at Manhattan's Right Track that yielded Metheny /Mehldau, a recording date that, over time, will surely be considered a landmark in contemporary jazz. On Quartet, each artist contributes original solo compositions as well as their first co-written piece, "A Night Away." The group also reworks Mehldau's "Fear and Trembling," which originally appeared on House On Hill, Mehldau's final outing with his previous trio lineup. It also interprets Metheny's "Marta's Theme," from his score to the 1998 Italian film, A Passage to Paradise. Quartet is perhaps even more adventurous and just as rewarding as their first release; the exhilarating back and forth between Metheny and Mehldau continues with their eagerly awaited live dates.

Album Description

Quartet expands upon the extraordinary musical dialogue - or, as Amazon.com puts it, the "dream pairing" - begun by guitarist Pat Metheny and pianist Brad Mehldau on their 2006 collaboration, Metheny/Mehldau. This time they incorporate the members of Mehldau's trio, bassist Larry Grenadier and drummer Jeff Ballard, into a breathtakingly eclectic set, which ranges from the airy, pastoral "So Much Music Everywhere" to straight-up rocking in the slowly building "Towards The Light.'

Customer Reviews:

Wonderful.......2007-07-12

This album is second to Michael Brecker's Pilgrimage. The tunes are great, the players are great - great album. Their first album together teased us with two tunes that featured the quartet - the quartet album won't let any expectations down. Buy it.

Splendid.......2007-07-05

This is really a revelation of sorts, beautifully produced new-age jazz by Pat Metheny. I had liked some of his earlier efforts and lost patience after a while but he has managed to renew his approach quite a bit. The music is sonically perfect and the whole disc is exceptional not just one or two tracks, Beautiful. I may have to buy the first one also.

music to my ears.......2007-06-06

a musical delicacy of cold cut jazz. well balanced between slow and mellow songs and more upbeat numbers that simply jazzles your mind.
one down side, some of the numbers are to short, leave you wanting for more, well the whole cd creates this entire empty space that craves more of that jazzy jazz; some of the songs has the beautiful, slow evolution from downbeat tempo but every melodious moving toward some really funky stuff (not as in funk but funky as in phat)but ending all too soon.

Beautiful, Engaging, but not Explosive.......2007-05-30

Mehldau and Metheney have collaborated such that their work on this cd is continuous with their previous but separate efforts while still being a creative and enjoyable work. Most of the tracks have, as their foundation, Mehldau's incredible sense of balance between the complex and the simple. Mehldau's sense of when and how to fill--and not fill--in the spaces continues to be an incredible strength of his approach. Metheney's contribution is to ride this gentle wave with his usual mix of engaging accessibility. Metheny's use of a synthesizer effect allows him to explore two of the tunes more freely which provides the most satisfying tracks on the album (5 & 9). What the album lacks in explosiveness (check out Mehldau's version of "Solar" on the album Art of the Trio Vol IV) it makes up in subtle inventiveness.

Une "entente cordiale" !.......2007-05-26

"Recorded in the same all-originals sessions as last October's Metheny / Mehldau collaborative debut from guitarist Pat Metheny and pianist Brad Mehldau, "Quartet" picks up where the first disc left off, albeit on a slightly quieter note. While Metheny / Mehldau focused on the duo chemistry of the co-leaders (only two of 10 tracks featured Mehldau's trio teammates, bassist Larry Grenadier and drummer Jeff Ballard), the new set tips the scales in favor of the foursome (seven of 11). Again, simpatico chemistry is on exhibit as Metheny and Mehldau converse with intuitive sensitivity on such passionate dialogues as "Long Before," "So Much Music in the Air" and "Sound of Water," the last of which an impressionistic beauty graced by Metheny's 42-string guitar. Highlights include the easy-going, oblique "Santa Cruz Slacker" and "Towards the Light," charged with Metheny's synth guitar dynamics and a surging rhythmic chug in the midsection".( Billboard - Dan Ouellette).
This is the eagerly awaited sequel to an album that exposed an unexpectedly deep empathy between two very different jazz stars last year. Pianist Mehldau, so hyperactive and complex on his own, emerged as a remarkably supportive and creative accompanist, freeing guitarist Metheny's guitar and guitar-synth to take flight in their lightest, airiest way. This audience-friendly process now involves Mehldau's trio, with bassist Larry Grenadier and drummer Jeff Ballard, in seven of the 11 original songs.Metheny's change of guitars from electric to acoustic could perhaps jar the senses slightly, but here, rooted by the rhythm section these changes pay off and excite rather than confuse the listener. The pace is varied, there are constant flourishes and changes of tempo and tone to keep your attention and the standard of playing from all present is just incredible. These guys understand pacing and texture, they let a track build it's own internal drama and follow the tune all the way.
Tranquil ballads and serpentine dance-themes ride latin and swing beats in an absorbing package that goes on world tour this spring : this is just a fantastic album of incredible musicianship which never loses sight of the primacy of the melody. Neither intrument is allowed to dominate the other - neither tries to dominate - but instead both weave together in an almost symbiotic way.

Average customer rating: EXCELENT Great very relaxing A very talented duo A combo which works. It reeks of corporate hype!

Metheny / Mehldau Pat Metheny , and Brad Mehldau Manufacturer: Nonesuch ProductGroup: Music Binding: Audio CD Avant Garde & Free Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Jazz Fusion | Jazz | Styles | Music General | Rock | Styles | Music General | Miscellaneous | Styles | Music Similar Items: Metheny Mehldau Quartet Pat Metheny Group - The Way Up - Live The Carnegie Hall Concert Bill Frisell, Ron Carter, Paul Motian Critical Mass ASIN: B000GQLAZW Release Date: 2006-09-12

Tracks:

1. Unrequited
2. Ahmid-6
3. Summer Day
4. Ring Of Life
5. Legend
6. Find Me In Your Dreams
7. Say The Brother's Name
8. Bachelors III
9. Annie's Bittersweet Cake
10. Make Peace

Amazon.com

This is a dream pairing: Pat Metheny, the Baby Boomer guitar god whose musical palette embraces everything from Ornette Coleman to contemporary jazz, teams with pianist Brad Mehldau, the brooding Gen X prince of the piano on the verge of becoming himself. After admiring each other for years, they're now on the same label, and this dynamic duel extends their mutual admiration into a very personal and simpatico release that recalls the intimacy of that 1960s Jim Hall/Bill Evans masterpiece, Undercurrent. Save for Mehldau's bandmates drummer Jeff Ballard and bassist Larry Grenadier forming a quartet on the bop-mazed "Ring of Life" and the Afro-Caribbean cadences of "Say the Brother's Name," it's two for the road on the rest of the recording. When you hear selections like "Unrequited," "Ahmid-6," and "Make Peace," you know that this CD is only the start of something big from these two artists. --Eugene Holley, Jr.

Album Description

For Brad Mehldau, this collaboration started at that "life-changing moment" when, as a 13-year-old, a friend played him "Are You Going With Me" from the Pat Methany Group's 1982 live double-album, Travels. Years later, Pat Methany heard "Chill" from saxophonist Joshua Redman's 1994 album Moodswing that featured Brad Mehldau on piano. Since, the two artists have forged an artistic partnership based on shared inspiration, not just mutual admiration. This album features music by both Methany and Mehldau, and was recorded at Right Track Studio (NYC) in December of 2005.

Customer Reviews:

EXCELENT .......2007-07-06

Is an incredible cd, I recomend 100% that you must have this one in your collection

Great very relaxing.......2007-06-10

This CD is very good and is one of the most relaxing albums I have every heard.

A very talented duo.......2007-05-27

Those who learned to appreciate Pat Metheny's music over the years will be delighted to hear his duet with Brad Mehldau, these two talented musicians gathered together to produce a highly innovative and melodious experience, enjoy!

A combo which works........2007-05-23

The immediate question here is does this seemingly musical marriage made in heaven live up to expectation?
The answer is a resounding yes for the alchemy between these players is evident from the first note.
Curiously their paths have crossed over the past ten years without there being the opportunity to play together.
Metheny first heard of Mehldau via saxophonist Joshua Redman (whose father the great tenor saxophonist Dewey Redman sadly passed away this week)who was about to take on the young pianist, while Mehldau was a long-time admirer of Metheny since he started listening to music.
What impresses here is the sheer ease with which the two play and in such a sophisticated and engaging manner.
The freshness of 'Say the Brother's name', one of two terrific quartet numbers with the infectious accompaniment of Larry Grenadier and Jeff Ballard, finds Metheny's guitar at its most euphoric since the historical trio sessions with Roy Haynes and Dave Holland from 1989.
Compositionally Metheny takes the lion's share with seven pieces while Mehldau adds three of his own.
One would ideally have liked a double album where the quartet had an entire disc devoted to its ensemble playing and it is only this slight imbalance between duo and quartet that makes this recording marginally short of a full five stars.

It reeks of corporate hype!.......2007-05-20

Jazz is dying because of recordings like this. Pretentious noodling of the highest order. Save your money because nothing is challenging about this recording. I just hope they don't put out any more!

Average customer rating: pure harmony perfect late night cd. One of most my treasured records sensual I fu like this...

Beyond The Missouri Sky (Short Stories) Charlie Haden & Pat Metheny Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Avant Garde & Free Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Jazz Fusion | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Smooth Jazz | Jazz | Styles | Music General | Miscellaneous | Styles | Music Jazz | Styles | Blowout Music | Stores | Music All Blowout Music | Blowout Music | Stores | Music More Titles at Least 25% Off | Blowout Music | Stores | Music Similar Items: Nocturne One Quiet Night As Falls Wichita, So Falls Wichita Falls Watercolors Land of the Sun ASIN: B0000047EC Release Date: 1997-02-25

Tracks:

1. Waltz For Ruth
2. Our Spanish Love Song
3. Message To A Friend
4. Two For The Road
5. First Song
6. The Moon Is A Harsh Mistress
7. The Precious Jewel
8. He's Gone Away
9. The Moon Song
10. Tears Of Rain
11. Cinema Paradiso (Love Theme)
12. Cinema Paradiso (Main Theme)
13. Spiritual

Amazon.com essential recording

This subtle, sublime collaboration finds bassist Charlie Haden and guitarist Pat Metheny crafting bejeweled chamber duets that transcend genre. With their shared Missouri lineage as a thematic touchstone, Haden and Metheny forge a lyrical, mostly acoustic style at once intimate and expansive. Both pare their playing to a Zen-like economy, focusing on a purity of tone, clarity of harmony, and counterpoint to achieve a tender lyricism.

Metheny's acoustic steel-string and classical guitars predominate, but he also applies discreet overdubs (including some delicate synthesizer and keyboard textures) to sculpt orchestral detail. Haden, as always, is both a generous foil and a deft melodist on his own, moving easily into his instrument's upper register as he twines through Metheny's lines. The set's emotional coherence is particularly satisfying in light of the material, which spans Ennio Morricone ("Cinema Paradiso"), Henry Mancini ("Two for the Road"), Jim Webb ("The Moon Is a Harsh Mistress"), and Roy Acuff ("The Precious Jewel") as well as affecting originals by both leaders. And giving the project a sense of closure, while commenting obliquely on the generational dialogue it represents, is the luminous "Spiritual" (composed by Haden's son, Josh), an instrumental prayer that exemplifies the balance of concision and deep emotion at the heart of this exquisite triumph. --Sam Sutherland

Customer Reviews:

pure harmony.......2007-07-07

An intimate, sometimes haunting, always soothing compilation of melodious tracks by two masters. The focus is introspective yet sophisticated; it is a subtle, lyrical synthesis of dreamy acoustic guitar and bass.

Haden's bass lines twine and insinuate through the familiar Metheny guitar work; this is real mellow winding-down music, better than evening cocktails.

These tracks are only vaguely jazz-like; really, this music is genre transcending. Great stuff as background music to read or write by. If only more of reality was this smooth . . .

Highly recommended.

Extracts: A Field Guide for Iconoclasts

perfect late night cd........2007-01-16

reading & music go together like wine & cheese at my house. since most of my reading is done later in the evening, i am always looking for great music on the quieter side (the stooges, husker du, etc... will not do at midnight). this is one of my favorite late night recordings. I can't recommend it highly enough. Metheny's guitar & Haden's bass work up perfection on these melodies. Each track is a gem. Can't wait to give it yet another listen.

One of most my treasured records.......2007-01-06

I often return to this recording. It's simply sublime. The interplay between the players is beyond words, and the last song "Spiritual" is just that. Gives me goose bumbs everytime I hear it. A great record for falling asleep to, or having a quiet evening with someone you love. I can't recommend it enough. I'm not a huge fan of Pat's 80's new agey sounding stuff, but "Beyond the Missouri Sky" is amazing. I've enjoyed several Charile Haden records as well. I can't believe that this record is buried as cd #38 on amazon when one types in Pat Metheny. To me it should be the first one up, even before his first three records.

sensual.......2006-12-21

I heard the last track on this album one day on the radio. It is a fabulously beautiful music. So I got the album. The rest of the album is very nice, but the last track turned out to remain my absolute favorite. Beautiful CD packaging too.

I fu like this..........2006-12-20

I am always looking for similar soundind CD's ,..try Jason Miles(with Bill Frissell),..very cool,..never seen it mentioned here

Average customer rating: Perfect Turn Will the guitarist please stand up??? Proof that the music can transport you. mind-blowing music Pat Metheny's "Dark Side of the Moon"

Offramp Pat Metheny Group Manufacturer: Ecm Records ProductGroup: Music Binding: Audio CD General | Jazz | Styles | Music Jazz Fusion | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Smooth Jazz | Jazz | Styles | Music General | Rock | Styles | Music ECM Classical | ECM Records | Amazon.com Label Stores | Stores | Music ECM Jazz & World | ECM Records | Amazon.com Label Stores | Stores | Music Similar Items: As Falls Wichita, So Falls Wichita Falls Pat Metheny Group First Circle Watercolors American Garage ASIN: B0000262LA Release Date: 1999-11-16

Tracks:

1. Barcarole
2. Are You Going With Me?
3. Au Lait
4. Eighteen
5. Offramp
6. James
7. The Bat Part II

Amazon.com

This 1982 recording by the Pat Metheny Group represented a crossroads for the guitarist, a creative expansion from his original concept in terms of acoustic and electric instrumentation, folksy roots material and modern jazz influences, American and third world sources. Having thus marked out the territory for a decade's worth of experimentation and growth, the Metheny Group cemented its standing on the cutting edge of contemporary jazz with Offramp. Lyle Mays' harmonica-like synth theme, Metheny's soaring, vocalized synth-guitar lead, some rich orchestral touches, and an easygoing blend of backbeat and chord changes made "Are You Going with Me?" one of Metheny's most enduring arrangements. Still, for every gentle, alluring set piece, such as the tangolike "Au Lait" or the rural vistas of "James," there was a visceral, emotive free-for-all like the title track, where Metheny unleashed wild, wailing synth guitar elisions over a loose, abstract pulse--anticipating the energy of the guitarist's collaboration with free jazz guru Ornette Coleman some four years hence on Song X. --Chip Stern

Customer Reviews:

Perfect Turn.......2007-01-13

Thanks to their peerless creativity and dedication to performance, the Pat Metheny Group never ceases to carve out a new, exciting, and captivating angle to their music. Most of the time, it's like witnessing Michelangelo carving out a new angle in the creation of the Statue of David. The most essential angle was carved in New York City in 1981.

When I first listened to "Offramp", I enjoyed it, but I didn't find it groundbreaking. Granted, the only records I had heard previous to it was "The Road To You", a fantastic live album by the Group and one of my favorites of theirs to this day, and "Imaginary Day", a broad and bold escape to another world. But I was still young and unaware, a 12-year-old kid who was looking for something along the lines of "The Roots of Coincidence" from "Day" or "Third Wind" on "The Road". Now, seven years later, I have heard almost every Group album and am determined to get my voice out on this fantastic band. Well, after "American Garage", I popped this in with the volume turned way up. Almost immediately, I forgot about any doubts regarding my opinion of this recording seven years ago. Ladies and gentleman, you are looking at the album cover of one of the greatest albums of one of the greatest bands in modern jazz history, and that's saying something. While the Group has never released a bad recording, at least not to this listener's ear, there are precious few albums that can be considered cornerstones, turning points, REVOLUTIONS in both the band's history and music history. "Offramp" is one of them.

After a three-year stint with Mark Egan on bass, Pat Metheny the bandleader decided that it was time for a change in direction, and, if you'll forgive me for being cornball, an offramp to go down that lead to a long and winding road of unlimited possibility. Mark Egan was replaced with the Joliet bass prodigy Steve Rodby, and the Brazilian percussionist extraordinaire Nana Vasconcelos was brought in as a "special guest". C'mon, let's be honest here: he should practically be a band member right from the get-go, as evidenced by the masterful percussion work and atmospheric wordless vocals on the haunting yet rousing opener "Barcarole".

I think the duet (it's really a trio) recording "As Falls Wichita" really helped Metheny and keyboardist and co-composer Lyle Mays focus and hone their musical maturity. Many of the orchestrations and textures from "Wichita" influenced the sounds on "Offramp", but the two are very different in their execution. For instance, it features the instrument that Metheny continues to use to this very day: the Synclavier guitar, a bold new innovation back in the day, and still quite effective today.

On the opening "Barcarole", we get Metheny's take on the Synclavier in action, backed by lush orchestrations, amazing percussion as said earlier, and a killer bass line, although very subtle (subtlety is an innate quality of Steve Rodby that makes him an indispensable bassist). Metheny programs it to sound like a trumpet, which might seem off-putting to some people, but to me, it makes the guitar sing like a power-house soul singer who reads Joseph Conrad. The exotic influences heat this album up, especially on the masterpiece...wait for it..."Are You Going With Me?". There is no denying the popularity behind this tune, and it is unquestionably justified. It starts slow, and builds and builds and builds with a harmonica synth solo from Mays and a sublime solo from Metheny, still considered to be one of, if not, his best, particularly to rock fans, I imagine. It has that staying power, conveying a beautiful love affair where the passion ensnares you into going places far beyond your wildest dreams. Believe the hype: it's a hallmark. Sadly, the follow-up "Au Lait" has long been overlooked by the Group and the fans. Don't dismiss for easy-listening at all, because "Au Lait"'s beauty isn't atmospheric for the sake of being atmospheric: It encourages you, the listener, to create your own experience. Let your mind wander when listening to that one, and don't be afraid to go where it takes you.

The next few tracks appear to be more conventional, but they too are grounded in deeply layered production, almost like a good New Wave record, which is evidenced on "Eighteen". I didn't care too much for this one at first, but it grew on me, much like "Airstream" on "American Garage". There are simply too many things going on to dismiss it as filler, and it will get you movin' and groovin'. However, it is the calm before the storm that is the title track, a ferocious, atonal free jazz slugfest where almost all musical convention is thrown out the window. But like its influence Ornette Coleman, the song "Offramp" is grounded in loosely-structured melody. If it wasn't, I couldn't stand it, but I really dig it, and hopefully, you will too. It was almost as if Metheny was saying, "Alright, guys, we did you a favor. Nana, Lyle and I wrote a tune that's 'pleasing to the ears' and 'relaxing'. Yeah, we gave you what you wanted. So allow us, good people, to kindly counter with an incendiary opus that is beneficial to the progression of our musical erudition. In other words, 'Kiss our grits, we're gonna go crazy'. Yeah.

Returning to conventional jazz form on "James" as a way of cooling off after "Offramp" was wise, and shows off just how versatile a band they are. This loving tribute to James Taylor has amazing solos, especially on Lyle's part, probably the best he's ever done. Unfortunately, all good things must come to an end, and a great end at that, with "The Bat Part II", a gorgeous reworking of "The Bat" from Metheny's trad jazz album "80/81".

I'm sorry this review is so long, but not enough can be said about how fantastic this album is. It has held up so well because its spirit can be felt in every Group album that came afterwards. Sit back and enjoy the ride.

GRADE: A+

Will the guitarist please stand up???.......2007-01-10

Pat Metheny is a great player. He is a great GUITAR player. I don't understand why he feels the need to hide behind the "guitar synth" mask so much of the time. His playing on "Offramp" is incredible, his writing collaboration with Lyle Mays is great and the ensemble is excellent. I just don't understand why it took me until the third cut on the album to hear an instrument that sounded like a guitar instead of a synthesizer playing in the style of a guitarist (or maybe it was a guitarist trying to sound like a synthesizer, I couldn't tell.)

Normally, I don't have a problem with an artist trying to achieve a sound that is outside of the norm. The problem I have with Metheny's guitar synth is that it doesn't really contribute to the music at all. It just heightens the cheese-factor of the music. As a listener, I don't like having to hack my way through thick walls of molten mozzarella with a machete in order to recognize the greatness of the music. Plus, it detracts from his image as a great guitarist when the listener has trouble separating Metheney from Mays. The synth-disease isn't as bad on this album as it is on Secret Story, but I just don't see any reason for the infection at all. The title track especially promises to be one of the most musically interesting tracks on the CD, but the guitar synth just detracts from the material.

Overall, I guess what I'm saying is that I like to hear Metheny play in a more straight-ahead setting. Who wants to hear a guitar that sounds like a diseased brass instrument? Not me.

Proof that the music can transport you........2006-07-06

Absolutely my favorite of Metheny's many great recordings. Lyle Mayes has got to be the reason. These two teamed up twenty five years ago and put together one of those legendary "got to own" recordings that belong in every cd library.

Other reviewers cover the specfics of this cd quite well so I will not. Instead, I will say that if you have ever wanted to sit down late in the evening, pour a glass of wine and just melt away this music is the vehicle for your escape. Hit the Off Ramp, down shift and enjoy the lovely ride off the highway.

mind-blowing music.......2006-04-25

n3ur010g1c said it really well. I only wanted to add my two cents to an already glowing bunch of reviews. I bought this album used on cassette, and the tape suffered from constant drop-outs and severe noise, almost as though it had been set too close to a magnet or something. But I listened to it anyways, and all the audio glitches only added to its mysterious aura. Finally, I managed to find the songs online(I'm so broke you wouldn't believe it-I don't even own a working cd player), and so I went about re-recording the music onto the same tape. After hearing it as it was intended to sound, this quickly became one of my most favorite albums, ever.

It just raises the bar for good, modern music to an unseen height for me. I almost felt cheated, that this was released in '82, and it took me this long to hear this. It most reminds me of the kind of stuff one might hear in a soundtrack to a movie from Europe, or maybe the film Koyaanisqatsi(the one where they shoot various city scenes and speed it up to a near blur). It also reminds me of stuff like some the National Film Board of Canada vignettes shorts that used to be so much a part of Canadian consciousness. I'm not nearly versed enough in music and culture (I used to think that folk music was enough), but listening to album makes me feel like I'm in the right place, here in the city, stuck in some otherwise post-modern dreck. It suddenly all disappears, and then I'm back where I'm supposed to be, hearing music that most accurately describes the human experience from a true artist's perspective.

Pat Metheny's "Dark Side of the Moon".......2006-03-24

My cousin has recently brought this album on vinyl,and him and I have spent this evening listening to it,and although I've had this album for nearly 20yrs, on either tape or cd,to hear it on vinyl confirms more than ever what a startling,and indeed truly staggering piece of work this album is...it was like hearing it for the first time....from the pulsing psychedelic beats of the opening track,to the dreamy synth solo in track two,to the techno- wizardry "Ornette Coleman" free -jazz of the title track,Metheny takes you into realms of Jazz not previously witnessed in his music....clearly a foretaste of what was to come with albums like Song X,and Zero Tolerance for Silence.....but it could well be arqued that in light of the album 80/81,Offramp wasn't that much of a suprise.
This album is regarded as one of his very best ,if not THE best Metheny's ever done,and rightly so...and bought to the fore the use of the guitar synth with its very unique sound,and range of possibilities.
There's not a lot I can say that hasn't already been said about this album,so here's a few thoughts.....
For me this album is at once dark,brooding,driven,other-worldly,almost psychedelic, yet gentle,light,sane,and utterly romantic..."Are you going with Me" contains the most rivetting, sensual, synth solo from Metheny,oozing a sense of space and time,with notes that are left hanging mid -air,the relentless build up to the musical climax....one almost gets the feeling that God has taken over...
"Au Lait" I find to be absolutely intriquing,I haven't quite made up my mind wether its haunting or romantic in its mood....but the opening few minutes or so remind me of a Priest giving a service in Latin,the last rites at a funeral,and as for the music,well I regard it as among the most brilliant examples yet of taking a simple phrase and spinning it out, but each time making it unique and with a depth of feeling.Pat and Lyle's playing is beautifully understated,and Nana's vocal effects reaches into your soul."Au Lait" makes me cry...
As for the title track...well... it cracks me up every time I hear it,its so wild and wacky....Metheny basicly goes awol with the synth guitar,a high octane Ornette Coleman inspired musical roller coaster that almost leaves you breathless at the end,but underpinning it all is a profound sense of structure, direction,and overall concept- it is truly amazing,and has to be heard to be believed.
Other reviewers have said more and said it much better than I have here,but be in no doubt Offramp is a truly mind blowing album,and is THE place to start if you are new to Metheny's music,and want a recommendation......if,on the otherhand, your a longtime fan,and if, for some unfathomable reason, you've NOT got this album,what the heck are you waiting for?....go and get it,light some candles,get a glass of wine and brace yourself for one hell of a trip!
Rating:10/10

Average customer rating: 38, 42, 55, 3 Apocalyptic Metheny Simply beautiful I wish I could give this album 10 stars! I tried, I really tried

As Falls Wichita, So Falls Wichita Falls Pat Metheny & Lyle Mays Manufacturer: Ecm Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Jazz Fusion | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Smooth Jazz | Jazz | Styles | Music General | Rock | Styles | Music ECM Classical | ECM Records | Amazon.com Label Stores | Stores | Music ECM Jazz & World | ECM Records | Amazon.com Label Stores | Stores | Music Similar Items: Offramp Pat Metheny Group American Garage Watercolors New Chautauqua ASIN: B000026255 Release Date: 2000-02-29

Tracks:

1. As Falls Wichita, So Falls Wichita Falls
2. Ozark
3. September Fifteenth - (dedicated to Bill Evans)
4. "It's For You"
5. Estupenda Graca

Amazon.com essential recording

Guitarist Pat Metheny and his longtime keyboard collaborator/alter ego Lyle Mays saw in their rural American roots a mystical connection to an entire world of sounds, and with As Falls Wichita, So Falls Wichita Falls, they began the process of fashioning an idiomatic folk expression all their own. With the help of master percussionist Nana Vasconcelos, they create a whistlestop tour of musical outposts on the extended title track that is at once gothic and atmospheric in the manner of Weather Report, bucolic and harmonious like the Byrds--with echoes of small towns, strip malls, and lonely railyards, over expanses of wide-open space that reflect their familial origins and countless miles wandering the interstate on a string of college-town one-nighters. In the four square major modes of "Ozark" and "It's for You" you can hear the beige tinge of the American experience that melded with African American music to give the U.S. its musical depth and breadth, while "September Fifteenth" is a prayerful, ruminative reflection on the spirit of their romantic forebear, pianist Bill Evans. --Chip Stern

Customer Reviews:

38, 42, 55, 3.......2007-04-01

I adore this album. It's so deep, mysterious, and moving I even used a snippet of the title track in a student film I once did. I don't think Pat Metheny is ever really given the credit as a great jazz musician that he deserves. His music is extraordinarily ethereal and almost other worldy, and some narrow minded people mistake this for new age music, or worse, elevator, Kenny G style music, which is absurd. I doubt that Kenny G or John Tesh would create something like the epic title track here. The title track is one of the most majestic pieces of music I ever heard, almost like a concerto or a really complex prog rock piece. The song Ozark is a lot lighter than the rest of the album, but it's still really good. September 15th is wonderful, with amazing piano work by Lyle Mays, Metheny's frequent colloborator. "It's for You" is nice, and the album's closer is quite moving and simple. The title of the album is almost one of the more memorable titles in history. This, along with Offramp, 80/81, Song X, and Beyond the Missouri Sky, are my favorite Metheny albums.

Apocalyptic Metheny.......2007-01-12

I first discovered Pat Metheny when hearing "As Falls Wichita, So Falls Wichita Falls" on a radio jazz program in university. My friend and I were laying on our living room floor with the lights out when this 18 minute song came on and totally freaked us out. I always interpreted it as some sort of apocalyptic warning or something. There was a lot of it in those days. But my friend and I never forgot it and bought the album the next day. It's taken me a long time to get the CD but I enjoy it just as much.

Of course the title track doesn't give you any idea of how awesome a guitarist Metheny is. The second side does however, but not as much as some of his other albums like "Offramp". But there are some very interesting melodic tracks on this album, from the ultimate driving song "Ozark", to the meditative "September 15th". All around, a great and unusual album.

Simply beautiful.......2006-08-14

Just the most heartfelt Metheny music I've ever heard. Being a longtime fan, I was delighted to hear some of this music on the soundtrack of the movie FANDANGO, with Kevin Costner and Judd Nelson. I especially loved their use of "It's For You" during the wedding. And "September Fifteenth" always brings me to tears.

I wish I could give this album 10 stars!.......2006-07-18

Okay, I am only 15 years old, and perhaps I am biased because my dad used to play this CD for me all the time growing up. Even so, I feel that this album is a group of timeless songs I'll like always and forever. It's hard to say exactly "why" i guess...every song is so beautiful, I don't need many words to describe them. They can speak for themselves. I plan to share this CD with all my friends and pass it along to my children because I hope they will appreciate the great instrumental work that went into these peices. One thing I do wonder is how you can say its "boring" or that you "just don't get them". I mean, I respect your opinion but...I will always stand behind my great love of Pat Metheny. Especially As Falls Wichita, So Falls Wichita Falls.

I tried, I really tried.......2006-05-05

I was playing some ultra-hyper Ursula 1000 the other night when my wife said, "Could you please play something mellow?" I know I had listened to AFWSFWF before and thought then what I'm about to write now, after having these thoughts confirmed last night.

AFWSFWF sounds like a half-baked movie score, I don't know how else to describe it. I don't know what is is about the "epic' Metheny works. I just don't get them, neither all their supposed "profundity" or musical "briliance." They bore me. I can't finish them. They take themselves too seriously such that I want to scream, "Lighten up!" Ok, wow, so you mixed some Asian-sounding guitar, a steady drumbeat, some somnolent piano respites, Pink Floyd like voices in the background and other "noise." Folks, I'm out, nocturnally. Nightie-night, sleep tight.

Average customer rating: One mood - yes please! absolute best metheny album there is One Quiet Night Not So Quiet nice 'n mellow Not typical Metheny, but very listenable

One Quiet Night Pat Metheny Manufacturer: Warner Bros / Wea ProductGroup: Music Binding: Audio CD General | Contemporary Folk | Folk | Styles | Music General | Jazz | Styles | Music Jazz Fusion | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Smooth Jazz | Jazz | Styles | Music General | Rock | Styles | Music Similar Items: The Way Up Watercolors Bright Size Life Offramp Beyond The Missouri Sky (Short Stories) ASIN: B00008YUEI Release Date: 2003-05-27

Tracks:

1. One Quiet Night
2. Song For The Boys
3. Don't Know Why
4. Another Chance
5. And Time Goes On
6. My Song
7. Peace Memory
8. Ferry Cross The Mersey
9. Over On 4th Street
10. I Will Find The Way
11. North To South, East To West
12. Last Train Home

Amazon.com

After having played in either trios or mid-sized group in recent years, Metheny goes the solo acoustic route on One Quiet Night. As the title implies, Metheny is in a contemplative mood, as he records a mix covers and old and new originals in his home studio. Playing his baritone guitar in a low country music tuning, Methany explores tonal shading throughout 12 relatively short tunes that are more impressionistic meditations than songs build around traditional jazz arrangements. The Norah Jones hit "Don't Know Why" is born anew, but the new original pieces point in a particularly fresh new vein for the great guitarist. --Tad Hendrickson

Album Description

On the heels of his 15th Grammy Pat Metheny, the most honored jazz guitarist in history, offers one of the most adventurous albums of his career. One Quiet Night is simply Metheny and a solo baritone guitar. Completely acoustic, no overdubs, using a rediscovered low Nashville tuning and recorded in his home studio. Slipcase. Warner Brothers. 2003.

Customer Reviews:

One mood - yes please!.......2007-07-15

I think there is no denying that this album follows a seam which as as the title suggests is for "one quiet night". i listened to it a number of times when clearly i was not "in the mood" and I would have concurred with some of the more negative views..however then "one quiet night" i did put it on and since then it has become one of my favourite albums. once listened to and heard the songs are not "samey" and certainly not "lazy" but just another confirmation that the metheny genius can go everywhere in my life!

absolute best metheny album there is.......2007-06-04

this is the most peaceful and stress releiving album that i have come in contact with. i could listen to it everyday and not get tired of it, because i think it has one song or another that relates to some part of our daily lives. I only with he would make a second one just like it because it seems that he did this album all by himself on one quiet night. If anyone could tell me where to get more of this style and kind of music i would greatly appreciate it. i certainly could use more of it, but for now this album will definately suffice.

One Quiet Night Not So Quiet.......2007-01-11

I heard a cut from this CD on XMRadio and loved it. Unfortunately, the CD, when played at home, was filled with squeaky, squacky sounds, drawing attention away from the beautiful songs.

nice 'n mellow.......2006-12-30

Pat always amazes me with how versatile he is. this is a great, mellow album with his usual perfect musicianship.

Not typical Metheny, but very listenable.......2006-07-03

I was surprised at how many positive reviews this CD has received. I like anything Pat does, no matter what style or genre. But this CD is quite a departure. It has a very pleasant, comforting "background music" quality. I know, probably not what Pat what shooting for, but I like it nevertheless.

Average customer rating: The Way Back Orchestral Maneuvers Transcending genre into pure music Up and Out The best PMG record since Imaginary Day - can't wait for the DVD!!

The Way Up Pat Metheny Group , and Pat Metheny Manufacturer: Nonesuch ProductGroup: Music Binding: Audio CD General | Contemporary Folk | Folk | Styles | Music Avant Garde & Free Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Jazz Fusion | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Smooth Jazz | Jazz | Styles | Music General | Rock | Styles | Music General | Miscellaneous | Styles | Music $8.99 and Under | Blowout Music | Stores | Music Rock | Styles | Blowout Music | Stores | Music Jazz | Styles | Blowout Music | Stores | Music All Blowout Music | Blowout Music | Stores | Music $8.99 and Under | Prices | Blowout Music | Stores | Music More Titles at Least 25% Off | Blowout Music | Stores | Music Similar Items: One Quiet Night Pat Metheny Group Bright Size Life Watercolors As Falls Wichita, So Falls Wichita Falls ASIN: B0006M4SO6 Release Date: 2005-01-25

Tracks:

1. Opening
2. Part 1
3. Part 2
4. Part 3

Amazon.com

For nearly 30 years, guitarist Pat Metheny and his longtime musical cohort, pianist/keyboardist Lyle Mays, have covered an incredible amount of diverse material. On their debut recording for this label, they and their international group--bassist Steve Rodby, Mexican drummer Antonio Sanchez, Vietnamese trumpeter Coung Vu, and the Swiss-born harmonica virtuoso Gregoire Maret--distill that diversity into a continuous 68-minute opus. The challenge here lies in sustaining the melodic narrative thread while keeping the sound of surprise. Thanks to Mays's evocative pianisms and Metheny's array of acoustic, electric, and synthesized guitars, the group pulls it off. For Metheny fans this disc contains elements of his most acclaimed recordings, from the straight-ahead swing of Question and Answer and the folk-fusion of Offramp, to the Afro-Latin tinges of We Live Here, the atonally adventurous Zero Tolerance for Silence, and the Asian impressionism of Secret Story. --Eugene Holley, Jr.

Album Description

The Way Up represents, in the words of guitarist Pat Metheny himself, "our most ambitious undertaking ever as a group"-a single, brilliant 68-minute piece composed by Metheny and his collaborator of 28 years, Lyle Mays. Metheny has likened the creation of The Way Up to making a film, and in some respects, the album feels like a vividly rendered journey, its moods shifting like scenes glimpsed from a fast-moving vehicle.

Customer Reviews:

The Way Back.......2007-06-12

When The Way Up came in the mail, I was over the moon. I loved the cover design and the photography in the cover booklet, and when the music started, I thought... "yeah, this is it." But suddenly I realised that this track would take another 10 minutes to finish... and the next 3 tracks were all about 20 minutes each. It wasn't what I hoped it would be. I guess I was expecting more of a sound collage, like travelling through different landscapes as one review had said, with less familiar-sounding music that sounded like everything I'd heard before from Pat. I wanted something 'new'. It had shades of Speaking of Now, which I love, so I think I may just stick with that. I love this first 5 minutes of the Way Up, but I think I'll go back to Speaking of Now and the Pat Metheny Group album for now, and give this one occasional listenings to on long trips in the car. ***

Orchestral Maneuvers.......2007-02-22

The rich textures of sound is impressive and the sheer joy heard in the musicianship makes The Way Up very special. It transcends the jazz label - the production is perfect - and approaches the beauty of a classical performance. The work was composed by Pat Metheny (g) and Lyle Mays (p & key).

Opening does just that and introduces the key structures & elements of the three parts. The upbeat work features one of many intricate guitar solos by Metheny. Drummer Antonio Sanchez drives Part One, with trumpeter Cuong Vu soloing late, along with outstanding interplay between Metheny & Mays.

On Part Two, close your eyes when Gregoire Maret is soloing on harmonica and you will visualize Toots Theilman, his playing is that good. Vu's voice especially complements the motif designed by Mays in Part Three.

Like a fine wine, the Pat Metheny Group has gotten better with age. The Way Up is nothing less than the band's masterpiece.

Transcending genre into pure music.......2006-09-21

I'm late kicking in my two cents, but after reading some of the silly commments posted here I had to chime in. I've been a fan of Metheny all along, enjoying some recordings more than others. Even when freshness seemed lacking at times, the brilliant musicianship and melodic gift were always there. Then along comes The Way Up, to me a defining moment in the already remarkable life of the PMG. The length and richness of the longform piece enables the full exploration of ideas and landscapes that is never quite possible in the typical 5-8 minute album cut. It's an absolutely beautiful piece and recording with so many satisfying turns. It's a symphony, PMG style. It is not about being jazz, or rock, or fusion, or folk, or any other restrictive term some people always seem to need to apply to things. It is about pure inspiration performed by masterful musicians. It takes both a mastery of one's tools and art form and a humble awareness of the true origin of all inspiration to discern, record and perform great art such as this. That is what happened here, and there are many of us who are profoundly grateful for the gift the Pat Metheny Group has given us with The Way Up.

Up and Out.......2006-09-06

This is probably the most polarizing recording of Metheny's career even to the extent that similar qualities are viewed positively or negatively depending on the listener. For my money, this is an almost entirely disappointing collection that feels neither original nor very interesting. I've read the jazz versus progressive jazz/rock comments and come down on the side of the latter which doesn't happen to be my favorite genre or what I want to hear from Metheny. It undermines his talents and his overall discography to add a word-of-mouth label to `avoid this one'

The long songs that dominate The Way Up are not compelling enough to hold interest even after repeated attempts. The first track, "Opening" is described in one of the many 5-star reviews as a song that "...combines everything Metheny has done over the years in one song..." I see that as an inherent problem with this recording - it's as if Metheny tries to throw in his entire post-ECM catalog; diffuse, distort and ratchet up the mix enough to achieve something new. Yes, Pat Metheny has earned the right to experiment but like it or not, any artist can end up a commodity and the road back, like the way up, can be a haul.

The best PMG record since Imaginary Day - can't wait for the DVD!!.......2006-08-20

Having been fortunate enough to listen to Pat and the Group since 1985, I look forward to each and every release. I was definitely not disappointed when this one came out, and of course, I rushed out to buy it. I have never seen 68 minutes go by so fast, as this recording just gets better with every listen! Pat, of course, gives his usual flawless performance. Lyle Mays, Steve Rodby, Antonio Sanchez, Cuong Vu, Gregoire Maret, and Nando Lauria also add so much to this recording. I had the pleasure of seeing them perform this live twice in 2005. There is no other artists I would pay to see, except PMG, play live. I do not see how they do it, each night, playing 2 1/2-3 hours each night. No other musician even comes close to Pat Metheny, I don't care what genre.

Average customer rating: A watershed recording A Classic This is the One To Have Breathtaking ... Jazz Trio 101

Bright Size Life Pat Metheny Manufacturer: Ecm Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Jazz Fusion | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Smooth Jazz | Jazz | Styles | Music General | Rock | Styles | Music ECM Classical | ECM Records | Amazon.com Label Stores | Stores | Music ECM Jazz & World | ECM Records | Amazon.com Label Stores | Stores | Music Similar Items: Watercolors Pat Metheny Group New Chautauqua Offramp As Falls Wichita, So Falls Wichita Falls ASIN: B0000261L9 Release Date: 2000-02-29

Tracks:

1. Bright Size Life
2. Sirabhorn
3. Unity Village
4. Missouri Uncompromised
5. Midwestern Nights Dream
6. Unquity Road
7. Omaha Celebration
8. Round Trip / Broadway Blues

Amazon.com essential recording

Larger ensembles may have provided Pat Metheny with his most visible successes, but he's repeatedly fired up his most fluid and personal playing in leaner trio settings, starting with this, his 1976 debut as a leader. Bob Moses brings both delicacy and effortless dynamics to his drumming, but it's the late Jaco Pastorius's lyrical electric bass that clinches the guitarist's coming-out party: with Metheny already displaying the liquid tone and exquisite touch that define his sound, old friend Pastorius radiates a sympathetic lyricism and unerring sense of swing. Metheny would match, but not transcend, this level of interplay in justly celebrated troikas with Charlie Haden and Billy Higgins (on Rejoicing) and Dave Holland and Roy Haynes (on Question and Answer). --Sam Sutherland.

Customer Reviews:

A watershed recording.......2007-03-16

A watershed recording, and the first as a leader by Metheny. And the amazing thing is that some of these tunes were actually exercises that Metheny wrote for his Berklee jazz guitar students, after he segued from student to instructor.

A Classic.......2007-03-14

While I'm a long-time jazz fan and sometimes performer, I've only lately come to appreciate Mr. Metheny's playing. This is a must-have in the library, not only for the guitar work, but Bob Moses and Jaco are on fire as well.

This is the One To Have.......2007-02-15

If you could only own one Pat Metheny recording, it would have to be this one, his freshman outing. The opening seconds of "Bright Size Life", with Pat's odd-interval-ascending melody and Jaco's first ringing chord are one of the most memorable beginnings of any recording I have heard. The rest of the record is a brief but astonishing tour through the mind of a great trio that only came together in the wonderful studios of Eicher's ECM. Thank god Gary Burton picked Metheny out of Missouri, and that Metheny teamed with the meteoric Jaco before he left us. At least we have Bright Size Life to cherish over and over.

Breathtaking ..........2006-09-19

I'm not really a kid, but I never write reviews so making an account on amazon doesn't make any sense. I never write reviews but this time I can't keep my nouth shut.

What a brilliant album this is! It's quiet, intropective, and delightingly beautiful. Metheny has all the emotions at his fingertips, and brings them to the audience in a quiet and honest way. I especcially like the quieter tracks, like "Unity Village" and "Midwestern Night Dream". This is just plain beautiful stuff, honestly. Everyone can like this cd, may it be on occasion, late at night with a good drink (very recommendable), or just all day long (for jazz freaks only). Very highly reccomended. Everyone should've heard this once in a lifetime.

Jazz Trio 101.......2006-07-08

This is required listening for all jazz and fusion musicians! In the art of music as language Jaco and Pat 'talk' to each other in a way most musicians don't really comprehend. BSL presents the music at the early peak of two of the most important jazz musicians off all time without synths and post-production filler. It's raw and intensely beautiful with only the instruments themselves for reference.
For the reviewer that rated this a `1', you seriously have some music history to learn. Practice your own instrument more and you'll understand what genius is represented here.

Average customer rating: My Favourite Metheny Musical bliss The One That Started it All... Let me share a memory with you... The White Album

Pat Metheny Group Pat Metheny Group Manufacturer: Ecm Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Jazz Fusion | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Smooth Jazz | Jazz | Styles | Music General | Rock | Styles | Music ECM Classical | ECM Records | Amazon.com Label Stores | Stores | Music ECM Jazz & World | ECM Records | Amazon.com Label Stores | Stores | Music Similar Items: As Falls Wichita, So Falls Wichita Falls Offramp Watercolors American Garage First Circle ASIN: B0000261NL Release Date: 2000-02-29

Tracks:

1. San Lorenzo
2. Phase Dance
3. Jaco
4. Aprilwind
5. April Joy
6. Lone Jack

Amazon.com essential recording

Having crisscrossed America to the tune of 250 to 300 one-nighters a year while getting their sound and repertoire together, the Pat Metheny Group struck gold with this self-titled jazz-fusion classic in 1978. All the familiar components that have defined their evolution over the last 20 years are in place on Pat Metheny Group: the leader's dark, reverberant electric guitar sound and graceful acoustic colorations; pianist Mays's blend of Presbyterian hymnbook major-chord hosannas, Bill Evans-styled minor mystery, and orchestral synthesizer effects; the rolling, cymbal-inflected groove of Dan Gottlieb; and the Jaco Pastorious-influenced melodic bass lines of Mark Egan. On "San Lorenzo" and "Phase Dance" the band defined their anthemic blend of electric jazz, progressive rock, and roots Americana, while the countrylike intro to "Jaco," the sublime acoustic romance of "April Wind" and the brisk jazz samba changes of "Lone Jack" (with the leader's jaunty, lightly echoed melodic lead) speak to Metheny's interest in a wide range of source material--with a commitment to both extended forms and the art of improvisation. --Chip Stern

Customer Reviews:

My Favourite Metheny.......2007-01-12

It's between this and "Offramp" for my favourite Pat Metheny experience. I love the instrumentation he uses on this album, the types of guitars he uses. And "San Lorenzo" is my absolute favourite Metheny track of all time. The album is very melodic with just enough discordance to make it interseting and pleasant to listen to. Sometimes Pat drifts into discordance so much that it's hard for me to comprehend, for example on the track Offramp. There's none of that on this album. Dan Egan does a great job on bass, especially on the homage to "Jaco" (no one could top Jaco Pastorius) and "April Joy". And Lyle Mays on keyboards is amazing as always. "Phase Dance" is one of Metheny's most popular tracks, one that I got a bit tired of but am rediscovering on this disc.

This is a must-have for all Metheny fans in my opinion.

Musical bliss.......2007-01-07

When the Pat Metheny Group released this debut album on ECM in 1978, the musicianship of Pat was already beginning to turn some heads. His previous trio album for ECM in 1976, featuring Jaco Pastoris (bass) and Bob Moses (drums), had forced the world of traditional jazz to take notice of this contemporary sound.

There is not a drab track on this album, and Metheny is joined by an entirely new lineup of musicians: Lyle Mays (piano, autoharp, Oberheim synthesizer), Mark Egan (bass), and Dan Gottlieb (drums). The group really brought new life into the genre. The album starts off with "San Lorenzo", featuring some wonderful piano solos by Mays that will knock your socks off. "Phase Dance" is the most widely recognizable Metheny piece on here, with some great riffs by Pat threading throughout the piece. The track "Jaco" is not really very funky as one might expect, since it was a tribute to bassist Jaco Pastorius, but does show off Egan as a great bassist that knows how to groove to an upbeat. "Aprilwind" is a brief quiet piece that is fairly straightforward in the delivery department. "April Joy" features Pat gracing the guitar in a style we have all grown to love. And finally, "Lone Jack", a track that has a bop feel to it.

Most of the tracks on this release have gone on to become standards in their own right. This album soldified Metheny's place as a gifted composer with an outstanding mastery of his guitar-craft. This is certainly one of the most important contemporary jazz albums ever released. I can never seem to hear enough of it.

The One That Started it All..........2006-06-13

Modern jazz is a difficult thing to categorize. There are so many diverse and idiosyncratic artists, many of whom have a sound that is rooted in jazz, but extends beyond just that. These sounds can be traced back to the 1960s and '70s, as well-known cats like Herbie Hancock, Keith Jarrett, Chick Corea, Weather Report, and less-famous but equally skilled ones like bassist Eberhard Weber, guitarist John Abercrombie, and of course sax/violin maverick Ornette Coleman began to experiment with an idea that is still considered blasphemy in the eyes of jazz "purists": integration of what were considered singular styles into jazz. Classical, minimalism, Nordic ambience, contemporary R&B, heavy rock, and free improvisation expanded the jazz landscape, reflecting the increasing tolerance of the times, for better (the magnificence of Weather Report) or worse (Grover Washington, Jr.'s smooth instrumentals, while groundbreaking for their time, influenced a whole generation of no-name knock-offs who eschewed the freedom of self-expression that makes jazz so unique).

The Pat Metheny Group was just a blip on the radar of many of those following this new and exciting music when they burst onto the scene. The dynamic frontman was fresh off of his first two solo albums, having formed his new Group just one year earlier with his new friend and right-hand-man, keyboardist Lyle Mays. After touring extensively and relentlessly searching for that brand new sound, the salvation of these struggling musicians was finally found.

The Pat Metheny Group, or PMG as many fans affectionately call it, has skyrocketed up the path of success since then, but they started off skyrocketing. I've been a die-hard fan of the Group for years, but I was unfamiliar with their roots, so I decided to check this one out. I was stunned. Despite many brilliant albums since 1978, PMG's freshman debut has aged magnificently, remaining one of the finest albums they've ever recorded.

You can credit producer Manfred Eicher for helping to create on the mellow and atmospheric sound the Group has become known for, but the key to the album's success is the songwriting. The Group members were all in their early to mid 20s when this was made, but their musicianship and songcraft give them the characterization of Michelangelo. The buoyant opener "San Lorenzo" captures the happiness and passionate MO of their music, with a stark yet soulful piano solo by Mays that brings to mind the touch of Keith Jarrett. However, Mays holds his own and proves himself a force to be reckoned with. "Phase Dance" continues to expand on the Group's principle of melodic improv and not a single note is out of place.

The great guitarist Pat Metheny is still finding his voice, but for him, that's like saying he's ranked #2 as the greatest guitarist of all time. He is relentless in his creativity, reflecting his Missouri roots with country riffs on "Phase Dance", smoking the axe on the funky "Jaco" only to spread soothing calm one song later on the minstrel-like "April Wind".

Not everyone will appreciate this gem; the mellow yet loud drumming of Dan Gottlieb and the melody lines might convince some listeners that this is just Muzak, which it's not. If anything, it's a thinking man's Muzak: the paintbrush of musicianship engulfs the canvas to create something that ensnares your senses. The throbbing bass of Mark Egan, the guitars, the keyboards, the drums, everything is woven together to create an exquisite feeling of delight. I read a review of this album that said, "The music grows in interest with each listen." As the interest grows, the love grows too. I'm interested enough to hear it again and again.

GRADE: A+

Let me share a memory with you..........2006-04-26

It was 1977 and I was a student at a technical school in Boston, an ardent fan of Jean-Luc Ponty. There was a concert at the Berkley Performance Center where JLP was going to feature pieces from his Enigmatic Ocean release, one of my favorite albums of all time. I was completely oblivious to the warm-up act because I was there to experience Jean-Luc Ponty but at the opening of the show there was a guitar at center stage positioned on a stand where a guitarist need only walk up behind the instrument and begin playing. There it was, its neck jutting at a 45 degree angle, waiting to be brought to life by an appropriate musician. Soon, a floppy-haired guy, accompanied by the other members of his group, bounced onto the stage amongst tentative applause. The floppy-haired guy waved appreciatively at the smattering of recognition from the audience while the other musicians took their places at their respecive instruments. Slung over the back of the floppy-haired guy was another guitar, presumably his principle instrument. To my surprise, the guy bent over the guitar positioned at center stage and began to wail out the opening notes to "Phase Dance," a piece that has to be one of the best works of jazz-fusion of all time. He played several bars of the opening theme then stepped back from the guitar on its stand, reached back over his shoulder, grabbed the guitar slung over his back whipped it around front and proceeded to crank out a solo that could bring tears to one's eyes. I didn't know who the artist was at the time but I knew that he was talented and I made a mental note to remember this artist for future reference. After his group completed his set, Jean-Luc Ponty took the stage and I instantly forgot about the warm-up band.

Several weeks later, a friend approached me and said that Pat Metheny was appearing at a club called the Paradise and would I like to go see him? I replied, "Who's Pat Metheny?" His response was, "Don't worry about it, I know you'll like him." I thought, what the hey.

After we were seated at our table and a round or two of drinks were served, the stage lights came up and there was, at center stage, a guitar on a stand positioned at a 45 degree angle, waiting for a guitarist to approach it from behind, grasp its neck and begin playing it for all it was worth, which is just what happened when some floppy-haired performer bounced onto the stage, wearing another guitar over his back, accompanied by the other menbers of his band. The guitarist bent over the guitar on the stand and seconds later the first bars of Phase Dance were blasted from the speakers onstage.

My eyes widened. I said "That's the guy!!!" That was the night when I began to fully appreciate the artistry of Pat Metheny, his uncanny ability to wrest every ounce of emotion from a guitar, his ability to express every emotion from despair to elation using nothing but his fingers, strings and a geyser of talent.

That night, I went to a music store and bought all of the Pat Metheny Group albums I could find (there were no such things as CDs at that time) and began a journey of exploration into an area of jazz that widened my horizons to an entirely new level. Pat Metheny remains, to this day, the guitarist for whom I hold the utmost respect and in whose talent I stand in awe.

The White Album.......2006-04-20

With the case of most artists throughout the globe, it takes years of toil and sweat to create something that truly sets them apart from the pack, a magnum opus that not only represents the beginning of their prime and earns them legions of admirers but should also please themselves. With the exception of the shoal of half-baked post-grunge/punk/ "new-school rap" robots that plague the American radio airwaves, there are more musicians like this than we have come to believe, and many have earned our admiration and obsession: The Beatles, Yes, Milton Nascimento, John Coltrane, Miles Davis, Alicia Keys, and the Pat Metheny Group.

As far as albums are concerned, the Pat Metheny Group's first album comes out swinging for the knockout punch. Every song is strong, not a note is out of place. The simple quartet structure is a far cry from what we've come to expect from PMG (complex, flexible septet sets), but the music remains as tight and fresh as ever, even if it's from 1978. While you can make the argument that "Watercolors" was technically the first PMG debut (everyone on the disc except bassist Mark Egan peformed on that solid yet sometimes dwindling outing), this is where the key was in ignition and the engine was fired up.

It's a true rarity that artists can create something that cannot be classified except unto themselves: this band is one of them. The opening "San Lorenzo" moves fast and smooth, with a buoyant and captivating sense of happiness that came to define the Group's sound. Even though it's a little over 10 minutes long, it never feels that way, and is the coming-out party for a kid in the corner that nobody seems to notice: Lyle Mays. He absolutely shines, with firm support from the jaw-dropping Danny Gottlieb on drums. I prefer this version over the live version because this one has the stronger piano solo.

On the classic "Phase Dance", the guys settle into a comfortable groove, with some mean licks courtesy of Pat, and killer synth lines from Lyle that give this a futuristic touch. The overlooked "Jaco" shows Pat's wide-ranging interest in different styles of music, with a folkie opener that transitions beautifully into cool Steely Dan-esque funk. This tribute to the late and great Mr. Pastorius sadly seems to have been forgotten like its subject matter.

Despite some near-perfect music, the minstel-stylings of "Aprilwind" dwindle a bit, but within about 40 seconds, spectacular jazz chords abound and keep it from being a bit of a navelgazer. The transition to "April Joy", the first song Pat ever wrote by the way, has an atmospheric and Jaco-esque bass line backed up by haunting guitar that simultaneously evokes a frigid flurry and the sun peaking over budding trees on the horizon. "April Joy"'s opening section is nice, but contains an interlude that goes into a slow reprise of "Phase Dance". Either look on it as writer's block or genius. I'll take the latter.

Finally, "Lone Jack" foreshadows the brisk samba stylings the Group would later come to embrace in full force, and ends the album with a bang. If nothing else, listen to a bit of Pat's solo, then fast forward to about 4:07 in the song, where it's just piano and bass. You can thank me later.

n3ur010g1c gives "Pat Metheny Group" a 10...out of 10.3 (~97%)

Average customer rating: Music the way it should be..... Fantastic Copy 15 years later... not just "still good" but BETTER!! Fantastic A five*star* stunner

Still Life (Talking) Pat Metheny Group Manufacturer: Nonesuch ProductGroup: Music Binding: Audio CD Brazil | South & Central America | International | Styles | Music Brazilian Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Smooth Jazz | Jazz | Styles | Music General | Rock | Styles | Music Similar Items: Letter from Home The Road to You: Recorded Live in Europe We Live Here First Circle Offramp ASIN: B000CZ0Q5W Release Date: 2006-02-07

Tracks:

1. Minuando (Six Eight)
2. So May It Secretly Begin
3. Last Train Home
4. (It's Just) Talk
5. Third Wind
6. Distance
7. In Her Family

Album Description

A trio of Grammy Award-winning albums by the Pat Metheny Group return to the artists's active discography on Nonesuch. Still Life (Talking (1987), Letter from Home (1989), and The Road To You (1993) are the first in a series of remastered reissues of Geffen Records titles.

Customer Reviews:

Music the way it should be............2007-02-25

A dear friend of mine was kind enough to lend me a copy of this CD. With my friend and I being fellow musicians, it stands to reason that we both have a deep love and passion for music. In a recent discussion, we were talking about Pat Metheny, Jean-Luc Ponty among others, and it was there that he lent me a copy of Pat Metheny's Still Life (Talking). From the moment I inserted it into my CD player I was taken away to a beautiful musical landscape. Such songcraft, such sentimentality and musicianship. A true measure of what music is supposed to be. Minuando (Six Eight) is a wonderful beginning to what is a beautiful crafted collection of music, and my personal favorite Last Train Home is one of the most beautiful songs I have ever heard. It was even used in an Amtrak commercial sometime ago. (There's a piece of trivia) Thank you Mr. Metheny for bringing us music as it was meant to be. Delivered from the heart and hands with love, craftsmanship and teutonic musicianship.

Fantastic Copy.......2006-11-12

I've owned the orriginal recording several years ago & gave it away to a person after the Katrina aftermath. When i purchased the remaster a few months ago & played it back on my home stereo system, I was blown away by the quality of not only the recording but also all the details not heard in the original. This remaster is not only recomended by myself but for all who love music in the purest form. I am anxiously waiting for "The Secret Story" remaster to add to my current Pat Metheny collection. If you're a seasoned or novice PMG fan, don't wait, buy this remaster soon & you'll listen for yourself how beautiful this recording is.

15 years later... not just "still good" but BETTER!!.......2006-11-05

i owned this music in both the original CD and cassette formats. however, i was willing to spend $15.99 to check out what this "remastered reissue" is all about. the result was astounding. i listen to most of my music with a Bose system in my vehicle. the difference between the original CD and the reissued CD is significant. first off, the "width" of the music seems to be wider, deeper. an analogy would be like, the original CD produced a listening effect as if you are listening the music in a small room, good music and rich music nonetheless. however, the reissued remastered CD produces an effect as if you are sitting in a concert hall, much wider tha deeper in terms of the acoustic dimension.

Secondly, a lot of the little notes (the percussion, the cymbals) that did not come thru' in the original CD all came out beautifully. if you are a devotee of acoustic elements in jazz, you will be very much rewarded to be able to hear all these. and you said to yourself, "gee, i did not know they played those little notes before."

by the way, i already purchased the Letter from Home CD which has the same high quality results per this review.

Fantastic.......2006-06-07

I am not a big fan of Pat Metheny -- I don't know much about his other CDs, but I have to say that I absolutely love this one. The song Last Train Home is probably one of my favorite songs of all time. There is just something about it that takes my breath away. The same can also be said of the other songs on the disc as well. I highly recommend this CD.

A five*star* stunner.......2006-04-29

I purchased the re-mastered version, and it sounds like it is live, i.e, you are there, only clearer. The songs are breathtaking, heart-breakingly lovely, and overflowing with joy, like a cool spring breeze blowing on you with the hot sun above. Sorry, Pat -- I think I broke that one getting it out.

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