love the way the orchestral/chamber instrumentation is arranged. Maybe his best since 2005's "The Way Up"
some great, magical moments on this, even with it's 77+ minute length. Reminds me at times of how I fell in love with Pat Metheny's music many years ago.
For those who missed it in the OT part of the forum (since it ain’t prog, I figured....), my review, first published on February 14.
John Kelman
Senior Contributor, All About Jazz since 2004
Freelance writer/photographer
"Pathmaker" is a great tune.
If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
I got this on Saturday, and have been playing it regularly. In spite of the gap of fifteen years since (what, sadly, with the death of Lyle Mays a couple of weeks ago, we must now recognize as) the final Pat Metheny Group album, there's a real link between this record and the PMG: the instrumentation, the melodies, the arrangements are at once novel and familiar. Another connection is with "Secret Story", his expansively ambitious solo record which - like this one - is augmented by orchestral arrangements on some of the tracks.
For an avid fan, it takes time for these tunes to find their places amongst the rest of his ouevre, but some initial highlights are "America Undefined", the long opening track that's structured as a suite akin to "As Falls Wichita, So Falls Wichita Falls", and "You Are", which delicately takes shape on the piano, and builds to a climax that reminds me of the "The Night King" theme from "Game Of Thrones". The cinematic sweep was never far from the elements of the PMG repertoire (notwithstanding Metheny's work on soundtracks to actual films), and that's still present here: one of Metheny's skills as a composer is the way he conveys a sense of wonder and euphoric drama, and the tunes in this set will assuredly stand the test of time.
[As if it wasn't enough to have the first PM record in five years released last week, it came out within a few days of the new one from John McLaughlin, and Neal Stephenson's new novel. Happy days.]
Yup, first heard of him on the Weber albums...I've only found one solo album, it's been played to death!Originally Posted by BobM
I'm loving it! Its so great to see Gil Goldstein working with him!
Its great to hear this positive feedback. Mine came yesterday but I have not yet had an opportunity to spin it.
He did two for ECM: Freigeweht, with Kenny Wheeler, Brynjar Hoff & Jon Christensen
and Continuum, with Markus Stockhausen & Fredy Studer
Both great, but I prefer Freigeweht by a small margin.
John Kelman
Senior Contributor, All About Jazz since 2004
Freelance writer/photographer
Upright bass solo on "Sixty Six" is fucking outrageously beautiful!! Masterful solo with a big, fat, round tone. Linda May Han Oh.
If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
Sorry to prolong the sidetrack on Brüninghaus, but he's also on a bunch of Garbarek releases.
Shame that the JGG never put out a live on from the Weber years.
Hi Guys,
Registered here just to comment on the new album.
I consider myself a Pat Metheny superfan and naturally have been anxiously awaiting the album. If I could wish for anything muscially, it'd be one more PMG release with Lyle Mays. Guess I need a new wish, eh?
After my first three times through the album I was pretty disappointed. My overwhelming complaint was (and is) that the drums are absurdly overdone. They're extremely "busy" at many points in the album and just too loud. I guess I'm just spoiled by Paul Wertico's stuff; tasteful and complementary, not a drummer making a statement, which is just a major distraction for me.
I'm now on about the tenth listen and, as should have been expected, the album is growing on me significantly. I can't imagine I'll ever put it with my favorites but it's really, really good stuff. When the Synclavier hits in Same River, just wow! Goosebumps. And Gregoire's harmonica on The Past in Us is just amazing; can't get enough of it!
Secret Story should keep you busy for months.
Have listened to it hundreds of times and still get goosebumps right on cue every time going from Part 1 to Part 2. No words.
The real glory days of Pedro Aznar. The title track is my third-favorite Metheny track all-time, behind To the End of the World and Minuano.
"To the End of the World" from We Live Here?
I love that song.
I can only imagine his frustration but really wish he wouldn't let his decisions be dictated so much by streaming and/or cellphones at shows. It's a battle you just can't win. That said, I wonder if he's considered an alternative; releasing more music but tightly controlling it. Only selling it on his website in vinyl and CD at a cost he feels makes it worth it for him.
It's such a shame that the current system has throttled so much good music we could have had. Lyle Mays openly admitted he stopped participating because he just wasn't getting paid what it was worth to him. Just imagine all the music he could have produced.
I have it recorded in my brain in CD quality. When the Synclavier solo ends with the lightning, well I won't even try to describe the feeling."To the End of the World" from We Live Here?
I love that song.
Last edited by PMG4ME; 02-26-2020 at 03:38 PM.
Welcome!Hi Guys,
Registered here just to comment on the new album.
I consider myself a Pat Metheny superfan and naturally have been anxiously awaiting the album. If I could wish for anything muscially, it'd be one more PMG release with Lyle Mays. Guess I need a new wish, eh?
After my first three times through the album I was pretty disappointed. My overwhelming complaint was (and is) that the drums are absurdly overdone. They're extremely "busy" at many points in the album and just too loud. I guess I'm just spoiled by Paul Wertico's stuff; tasteful and complementary, not a drummer making a statement, which is just a major distraction for me.
I'm now on about the tenth listen and, as should have been expected, the album is growing on me significantly. I can't imagine I'll ever put it with my favorites but it's really, really good stuff. When the Synclavier hits in Same River, just wow! Goosebumps. And Gregoire's harmonica on The Past in Us is just amazing; can't get enough of it!
And thanks for the great post. Gracias!
Thank you! Glad to be here among some like-minded people.
Oh yeah....classic track."To the End of the World" from We Live Here?
I love that song.
I was really digging Speaking of Now back in the fall time - its is REALLY, REALLY good imo.
If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
...from beginning to end! I love every track. 10/10
That solo is a real showstopper, and the way it builds and builds to that thunderclap...
Lyle's solo piece in the middle is a thing of beauty as well. The mood in that song is really hard for me to put into words, but it never fails to make me feel better when I hear it.
Yessir, Speaking of Now is really a wonderful CD. A bit more "accessible" than The Way Up, maybe (at least for me), but filled with beautiful and challenging compositions.
I have read that a duo album with Ron Carter was one project Pat recorded but shelved in this period where he was reluctant to release music. If From This Place is a success for him, I hope he'll consider putting out that one.
I am enjoying the PM/PMG/Lyle Mays love here.
There are relatively few bands or individuals that can force me to listen to several of their CDs in a row (because the music is just so infectious and unique). Pat is one. The other is Todd Rundgren. They are completely different artists but to me, they share that crazy-infectiousness. One song is not enough. One record is not enough.
Holy cow, dude. You are a man after my own heart. Todd Rundgren is my favorite musical artist (outside of jazz at least), and you’re right — one record just isn’t enough. I usually play multiple albums when I listen to his stuff. Pat Metheny much the same way.
Pat’s music somehow straddles the line between technicality and emotion, imo. I don’t know if he’s done a single song that I “dislike”, out of the ones I’ve heard anyway. Never listened to Zero Tolerance for Silence, so maybe that will prove me wrong.
But yes, very infectious music. How can anyone not enjoy “Yolanda, You Learn” for example? It’s just so bright and cheery. It’s one of the most life affirming pieces of music I know of.
Posting Permissions
Reply With Quote
Bookmarks