It’s not a constant presence on this album, but as mentioned when we discussed the title track on Watercolors, what would become the sound of “The Group” begins to establish itself. “Lakes” takes us in that direction.
The introduction isn’t really your standard jazz fare, with what amounts to the head being restated through three repeated sets of changes before Pat adds a little conclusion to that theme. It actually reminds me of how verses of pop tunes are constructed. Underneath Metheny’s guitar with have Lyle’s piano in very close support and the great Eberhard Weber lacing in very long bass lines — sort of Jaco, sort of not.
From there we have an extended Pat solo that really leans more toward a group improvisation, Yes, they’re all following the changes but the comping is so open and relaxed that it’s easy to forget that the guitar is being featured. The same can be said for when Lyle takes a solo later on. And that is one of the keys to the sound of “The Group” — Pat Metheny’s main instrument is the guitar, but for him it’s just a vehicle for what really matters: the story being told.
Up next: River Quay
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Holy chords! And quite up-tempo to boot…
Allegedly written by Pat for a band that had two piano players. The rapid fire changes would give all those hands plenty of tonal and harmonic fodder to feast upon.
On Mark’s point, this is the next one that begins to define the PMG sound, where you have some clear lineage to the jazz tradition, but also an introduction to something that is clearly new and fresh.
The ringer for “Lakes”, for me, is the balance between what could be considered the “A” and “B” portions of the tune’s structure (which is played throughout, solos, etc). The “A” section is two (borderline nonsensical) chords per bar. It jumps, leaps, and falls at unexpected intervals, but doesn’t recycle or seem to establish any clear pattern. A testament to these guys as players is that they make these largely academic changes work, dare I say, swing.
But then, just when even the most ardent be-bop mind has had enough, the tune releases into the “B” section. I think this is where people often get the wide open, folk, Midwestern-type aural images of Pat. This is all major. Simple triads of major chords stacked over an open D root, in a pedal-pointish manner. Free, easy, open. Then, back to the top…
This one ended up being a bit of burner in live shows at the time, and I’m blown away by how both Pat and Lyle were able to comfortably solo over this one.