“Sea Song,” while not bursting out in the style that would mature on the next Group release, did extend one of Metheny’s signatures, that of the long-form melodic story, introduced in fragments. To my ears, this has always been nothing less than genius. He stays within the parameters of the key centers presented and weaves together a melody that feels as inevitable as the change of seasons.
I keep waiting for the tune to morph into “San Lorenzo” (from the next group effort) but instead, the guitar, piano, and pass wind around each other, creating a soundtrack of sorts that unfolds in many layers.
This may or may not be true, but I read somewhere that Pat isn’t all that fond of this particular record. Obviously, that’s his prerogative. But there are echoes of “Sea Song” that extend out from here through Pat Metheny Group‘s “April Wind” through As Falls Wichita, So Falls Wichita Falls and all the way out to 2005’s The Way Up. What’s amazing about this is that none of it ever comes close to feeling like a cliché. It’s more like a language — a mysterious one that we can learn only by paying close attention over a long period of time. I’m still learning.
Up next: San Lorenzo
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If Pat, or the Group, hadn’t put out another record after this one (laughable, to think about in retrospect), I don’t think cuts like ‘Sea Song’ would fare the same as they do in context of his entire output.
This song would sound a little embryonic and definitely a bit “of the times”.
Instead, it provides great insight into where these guys were going next. That beautiful “long form”, without feeling long. The subtle, supporting intensity of honest-to-goodness melodic playing (what the hell is so wrong with that?).
My one knock is the over wrought fretless work of Eberhard Weber. Nothing against Eberhard, but his voice proves to be too distinct in the overall mesh. But that is okay, because the last missing piece of the puzzle came together for the next album and, for me at least, THE definitive lineup of the PMG.