So many years removed from this album’s release, and I am still stunned at tracks such as this. Metheny has a theme but the presentation is one long guitar solo. Instead of expansions on lyricism, we have Pat running up and down on the neck, playing counterpoint to Jaco’s active phrasing.
Or…is it Jaco playing countering Metheny’s active phrasing? That’s what is so amazing about “Missouri Uncompromised.” Jaco and Bob Moses weave a rhythmic and harmonic bed that’s just perfect for Pat’s explorations. But after a fashion, the rhythm section steps away from that subordinate role and becomes part of the whole. It’s a subtle move that’s characteristic of the this trio’s style of play.
I sometimes wonder how Metheny was able to develop these constructs at such a young age. But then I remember the stories of his brother bringing home jazz records (Four and More) and how he immersed himself in them. It’s not that I hear a lot (or any) of Miles in this, but it’s incredible never the less.
Up next: Midwestern Nights Dream
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I can’t say this one triggers much for me in any direction, but I will comment nonetheless (as I have set out to comment on every entry in this series; at least until someone else does!)
My feeling is that Pat set out for a certain feel with this one, like he tends to do. The feel wanes a bit towards the angular, post-boppy Ornette-ish tendencies that he loves, and which I can appreciate, but I feel this quality got so much more developed and balanced later in his career in the presence Lyle Mays. I feel the seed he is planting with this one, but I don’t think it is fully there. Now, that is not to comment on the trio, and individual, playing on this track, which is comfortably above stellar.