AAJ Review: Pat Metheny, The Unity Sessions

[jkelman]

My review of Pat Metheny's The Unity Sessions,his new live performance available on DVD, Blu Ray and digitally, today at All About Jazz.

With the release of the The Orchestrion Project (Eagle Eye Media, 2012) DVD/Blu Ray video and associated The Orchestrion Project (Nonesuch, 2013) two-CD set released just over three months later, Pat Metheny changed his approach to the live recordings that have followed almost every major release/tour beginning with Imaginary Day (Warner Bros., 1997) and Imaginary Day Live (Eagle Vision, 2001).

Instead of recording live in front of an appreciative and enthusiastic audience, for The Orchestrion Project--given the inherent challenges of having the numerous the number of cameras required to truly capture the guitarist's solo project with his unwieldy but impressive pneumatic and solenoid-triggered, analogue instrument-constructed but still MIDI-driven Orchestrion--Metheny went into a performance space immediately after the completion of his solo world tour in support of the original 2010 studio album Orchestrion (Nonesuch), and recorded what was essentially his live set, but with more control over the environment so that he could produce a document that quite literally (especially with the 3D version of the Blu Ray) put his fans onstage with him.

It was a terrific move under the circumstances; after all, playing with preprogrammed Orchestrion tracks and loops that he'd build with frightening real-time complexity, it wasn't about human interaction; and so, while The Orchestrion Project may have lacked that spark which comes from playing in front of a live audience, the visuals--Metheny's ability to document the Orchestrion from angles that would have been impossible in a real performance, where so many cameras would have intruded on the audience experience--made The Orchestrion Project more a studio recording of a live set than an actual live performance, and was, consequently, an unmitigated success for what it was.

But is such an approach appropriate when documenting live performances played by a real band with real people? Does such an approach lose out on the inspiration and every provided by a real audience?

Continue reading here...

[Birdy]

My review of Pat Metheny's The Unity Sessions,his new live performance available on DVD, Blu Ray and digitally, today at All About Jazz.

With the release of the The Orchestrion Project (Eagle Eye Media, 2012) DVD/Blu Ray video and associated The Orchestrion Project (Nonesuch, 2013) two-CD set released just over three months later, Pat Metheny changed his approach to the live recordings that have followed almost every major release/tour beginning with Imaginary Day (Warner Bros., 1997) and Imaginary Day Live (Eagle Vision, 2001).

Instead of recording live in front of an appreciative and enthusiastic audience, for The Orchestrion Project--given the inherent challenges of having the numerous the number of cameras required to truly capture the guitarist's solo project with his unwieldy but impressive pneumatic and solenoid-triggered, analogue instrument-constructed but still MIDI-driven Orchestrion--Metheny went into a performance space immediately after the completion of his solo world tour in support of the original 2010 studio album Orchestrion (Nonesuch), and recorded what was essentially his live set, but with more control over the environment so that he could produce a document that quite literally (especially with the 3D version of the Blu Ray) put his fans onstage with him.

It was a terrific move under the circumstances; after all, playing with preprogrammed Orchestrion tracks and loops that he'd build with frightening real-time complexity, it wasn't about human interaction; and so, while The Orchestrion Project may have lacked that spark which comes from playing in front of a live audience, the visuals--Metheny's ability to document the Orchestrion from angles that would have been impossible in a real performance, where so many cameras would have intruded on the audience experience--made The Orchestrion Project more a studio recording of a live set than an actual live performance, and was, consequently, an unmitigated success for what it was.

But is such an approach appropriate when documenting live performances played by a real band with real people? Does such an approach lose out on the inspiration and every provided by a real audience?

Continue reading here...

Nice review John, thanks. It really is a shame when concert go-ers feel they have to tape the show on their shitty phones at the cost of the artist. With the amount of DVD's and Blu-rays released by some artists(with Metheny certainly being no exception) why not wait for a great quality document? Thanks again.

[2000jw]

Thanks for the review, John - very nice, and a characteristically detailed description of what to expect when we get hold of this set. The point about sacrificing the spontaneity and interaction inherent in filming in front of a live audience in order to perfect a visual record of a performance (including re-takes and more sophisticated camera work) is a good one; as you point out, it's analogous to the difference between a live album and a studio one. Actually, the DVD of PMG's The Way Up is probably a precursor to this sort of recording; although that apparently came from a concert in South Korea, you'd hardly know it as they're pretty much invisible and inaudible throughout the performance, which consequently has more of a live-in-the-studio feel about it.

Regarding this set, I was struck by how there's no mention of Giulio Carmassi in Pat's liner notes (or at least, the version of the liner notes which appear on his website). Since he's - more or less - the difference between the Unity Band and the Unity Group, I found this surprising. He seems to be mostly in the background for the clips of the DVD which I've seen, which makes you wonder if he's a full member of the Group, or just a supporting musician.

[Scott Bails]

Nice review John, thanks. It really is a shame when concert go-ers feel they have to tape the show on their shitty phones at the cost of the artist. With the amount of DVD's and Blu-rays released by some artists(with Metheny certainly being no exception) why not wait for a great quality document? Thanks again.

I'm speculating, but I would guess that one reason would be that a fan would want an document of their experience - not an over-dubbed and perfected version of their experience.

Though, I understand John's argument in his review.

[Dave (in MA)]

Does this represent the whole set? You can hardly see anything.

edit: This far along in Eagle's tenure of releasing concert videos, you'd think they'd have come up with some undistorted music to back up their company logo.

[Reid]

I'm speculating, but I would guess that one reason would be that a fan would want an document of their experience - not an over-dubbed and perfected version of their experience.

If only people would respect the fact that they don't have permission to make their own audio/video document when they buy a concert ticket. I'm glad I went to see Pat Metheny a half dozen times before the cell phone zombies ruined the live concert experience.

[Scott Bails]

If only people would respect the fact that they don't have permission to make their own audio/video document when they buy a concert ticket.

Absolutely agree with you, Reid.

[pb2015]

Actually, the DVD of PMG's The Way Up is probably a precursor to this sort of recording; although that apparently came from a concert in South Korea, you'd hardly know it as they're pretty much invisible and inaudible throughout the performance, which consequently has more of a live-in-the-studio feel about it.

The Pat Metheny Group's More Travels video from the early 90's is also from a taping session without an audience.

[jkelman]

Thanks for the review, John - very nice, and a characteristically detailed description of what to expect when we get hold of this set. The point about sacrificing the spontaneity and interaction inherent in filming in front of a live audience in order to perfect a visual record of a performance (including re-takes and more sophisticated camera work) is a good one; as you point out, it's analogous to the difference between a live album and a studio one. Actually, the DVD of PMG's The Way Up is probably a precursor to this sort of recording; although that apparently came from a concert in South Korea, you'd hardly know it as they're pretty much invisible and inaudible throughout the performance, which consequently has more of a live-in-the-studio feel about it.

Regarding this set, I was struck by how there's no mention of Giulio Carmassi in Pat's liner notes (or at least, the version of the liner notes which appear on his website). Since he's - more or less - the difference between the Unity Band and the Unity Group, I found this surprising. He seems to be mostly in the background for the clips of the DVD which I've seen, which makes you wonder if he's a full member of the Group, or just a supporting musician.

From the beginning, Pat has called him a "utility musician," who fills in by playing parts on many instruments. Live he was set behind the rest of the band. I spoke to him in Stavanger, and he was totally fine with it all...after all, who wouldn't like to have "one-year world tour with Pat Metheny" on their CV? It's funny, because - and I'm not singling you out or intending any offence - but there's been more outrage from the fan base at his treatment, despite Metheny being very clear about his role, than with Giulio, who's been thrilled to do the gig.

[jkelman]

I'm speculating, but I would guess that one reason would be that a fan would want an document of their experience - not an over-dubbed and perfected version of their experience.

Though, I understand John's argument in his review.

Well, I hope that my point was made clear: what Metheny is doing is not ideal. But given the way he feels about audience recordings and the audience's refusal to respect his very clear wishes, he has chosen this as an alternative. It's not my preference, but I understand his perspective, and so if this is what we get, we need to assess it on its own merits...and it's one damn fine performance, audience notwithstanding.

[pb2015]

From the beginning, Pat has called him a "utility musician," who fills in by playing parts on many instruments. Live he was set behind the rest of the band. I spoke to him in Stavanger, and he was totally fine with it all...after all, who wouldn't like to have "one-year world tour with Pat Metheny" on their CV? It's funny, because - and I'm not singling you out or intending any offence - but there's been more outrage from the fan base at his treatment, despite Metheny being very clear about his role, than with Giulio, who's been thrilled to do the gig.

I agree Pat not mentioning Giulio in that liner note is weird though.

[jkelman]

I agree Pat not mentioning Giulio in that liner note is weird though.

Well, when folks hire orchestras or string sections they rarely list all the players either. I'm not trying to defend Pat, just that he's been absolutely up-front and clear about Giulio's role from before the band hit the road, and that Giulio is totally fine with just having had the chance to tour. Barring one solo spot, amidst the section of the show where Metheny duetted with everyone (and Giulio's solo became a duo) he didn't get any solo space in any of the music - just as was the case on the album. So it's all been very upfront.

As for the group, it's pretty much done. I was amazed he managed to keep Chris Potter for two years of world touring,. given Chris has his own projects on the go.

So there are a number of things coming up...but I cannot reveal anything, sorry. I've heard a couple of bits and bobs about the next project, and all I can say is there will be a pianist, and it won't be Lyle. While I've not heard, chances are pretty good Antonio will be involved as he's been Pat's go-to drummer for almost 15 years now....and I'm pretty sure I know who the bassist will be (not Ben Williams...who, ditto, gave up two years of his life and has his own projects).

If it is what I think it will be, it will be very, very exciting..and another real "playing" band.

[pb2015]

So there are a number of things coming up...but I cannot reveal anything, sorry. I've heard a couple of bits and bobs about the next project, and all I can say is there will be a pianist, and it won't be Lyle. While I've not heard, chances are pretty good Antonio will be involved as he's been Pat's go-to drummer for almost 15 years now....and I'm pretty sure I know who the bassist will be (not Ben Williams...who, ditto, gave up two years of his life and has his own projects).

If it is what I think it will be, it will be very, very exciting..and another real "playing" band.

Thanks for the update. Looking forward to learning more.

[2000jw]

Well, when folks hire orchestras or string sections they rarely list all the players either. I'm not trying to defend Pat, just that he's been absolutely up-front and clear about Giulio's role from before the band hit the road, and that Giulio is totally fine with just having had the chance to tour. Barring one solo spot, amidst the section of the show where Metheny duetted with everyone (and Giulio's solo became a duo) he didn't get any solo space in any of the music - just as was the case on the album. So it's all been very upfront.

Many thanks for the clarification, and the behind-the-scenes insight into his feelings about being in the band, which certainly changes my view of the project.

So there are a number of things coming up...but I cannot reveal anything, sorry. I've heard a couple of bits and bobs about the next project, and all I can say is there will be a pianist, and it won't be Lyle. While I've not heard, chances are pretty good Antonio will be involved as he's been Pat's go-to drummer for almost 15 years now....and I'm pretty sure I know who the bassist will be (not Ben Williams...who, ditto, gave up two years of his life and has his own projects).

I don't know if you're able to shed any light on this, but can you say anything about Lyle's current situation? He seems to have been doing little in the public eye (at least compared to PM, with his solo, duo, trio and group activity) since The Way Up, which was released - gulp! - ten years ago now. There've been one or two short PMG revival tours, but not much else. Not that I expected (or am insisting) the PMG to last for ever, but the interplay between LM and PM, and the results of their joint writing, was almost unbelievably fruitful and enduring.

[pb2015]

From what I've read, Lyle has many interests outside of music and he seems happy to be concentrating on those. I miss his playing and writing a lot too.

[jkelman]

From what I've read, Lyle has many interests outside of music and he seems happy to be concentrating on those. I miss his playing and writing a lot too.

Lyle got tired of the relentless touring. Remember, PMG was pretty much like the a jazz group touring with a rock aesthetic, bringing their own sound and light gear (at least a lot of it), and touring for months on end.

He has other interests, as PB says, and just ain't interested in those long world tours anymore.

I agree that he and Pat shared something very special....but I'd say that unless something changes, those days are now in the past.