“Estupenda Graca” is a rare entry in the Metheny catalog in that the title, Portuguese for “Stupendous Grace,” actually matches the mood of the song.
Post Tagged with: "1980s"
While I do tend to think of music in terms of albums, there are certain songs that for a variety of reasons get pulled away from their original context.
In interviews, I’ve seen Lyle Mays speak of how music has it’s own “language and syntax.” He wasn’t necessarily talking about music’s technicalities — harmony, melody, and the like.
Unlike a lot of American kids, I was not forced into taking piano lessons. I was more of a stringed instruments guy, first with the violin and then the guitar.
I don’t know about the rest of the Pat Metheny fan base, but I was pretty much unprepared for what As Falls Wichita, So Falls Wichita Falls had to offer.
Gimme Five: Hits uncharacteristic of the bands that made ‘em (KISS, Queen, The Pointer Sisters, The Hollies, Bread)
They’re objects of music chart intrigue: those left field hits, songs that aren’t really typical of the bands who recorded them and become hits, anyway.
80/81 concludes with Pat bringing it all together with acoustic guitars. For all of the different aspects of jazz (and “jazz folk”) on display on this record, there’s something about Metheny’s final song that really does feel like a true, integrated conclusion. Certainly all of these years of listening have imparted some of that feel, but it seemed this wayRead More
A definite 80/81 standout track, “Every Day (I Thank You)” features Michael Brecker at his most expressive. There are many interviews out there where Pat runs out of superlatives when talking about Brecker’s work on this song. It’s not hard to see why.
A few years a back, me and TheWife™ decided that our cable bill just wasn’t worth it. On most nights, we’d watch (or put on and sort of ignore) a few things on either the Food Network or maybe HGTV, all for a ridiculous sum of money each month.
Sometimes, it’s all about Ornette. On the whole, 80/81 comfortably visits “out” material and more straight ahead jazz, with a healthy introduction to Pat’s idea of “folk jazz.” Some of the glue that holds all of this together is the influence of Ornette Coleman.