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.
Post Tagged with: "Pat Metheny"
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.
I don’t often read things about film (mostly because I never watch movies), but there’s this terrific little spat going on between film critics over at New Yorker. Richard Brody claims that you only need five minutes — any five minutes — to determine if a film has resonance.
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.
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.
There are many reasons to look wistfully back at this ensemble, thinking of how great it would have been to see them perform live. That list is tops out with “Open.”
Over the course of Pat Metheny‘s long and erudite career, I’ve considered his non-Metheny Group side projects as mostly separate, with little or no musical/stylist overlap.
There are points during nearly all concerts where the emotions and internal language of the music can take over to express something that’s out of the grasp of mere words.