PAT METHENY GROUP

This is a jazz album, flirting with the fusion style. The main attraction is Metheny's electric guitar solos. He has a very personal sound: his solos notes are not sustained: in other words, he plays a note, and immediately after, he plays the next one; he is really fast, and his guitar sound is very urban. The drums here are often fast, complex and well played. The bass is very rhythmic and sophisticated. Lyle Mays plays the piano and the keyboards; he is not still at his best here, but he gives a solid contribution: the modern keyboards give a fresh atmosphere to the whole; the keyboards, the piano, the guitars, the bass and the drums are well balanced and thus they all work together to make solid compositions.

The very first album from the 'Pat Metheny Group' comes across as a delightful april breeze.

It was recorded in the days when Pat still limited himself to playing old-fashioned jazz guitar. No trumpet-like guitar synths, no 24-string (or was that 36-string?) guitar harps, no rock-guitar distortion, no latin percussion, no wordless soft-jazz vocals...

At least three of the pieces included here have a distinctly 'symphonic' feel, especially the ten-minute "San Lorenzo" and the eight-and-a-half-minute "Phase Dance", two of the most attractive tunes Pat ever wrote. This is because Pat uses his band like a chamber orchestra. He eschews the typical jazz pattern of "briefly stated theme - solo - theme - solo - theme" and continually uses ALL instrumental colours in the best possible way, particularly Mark Egan's languid bass and Lyle Mays' grand piano and dreamy synths. Interestingly, on "San Lorenzo" it is Mays (on grand piano) and not Metheny who's granted an extended solo.

The remainder of the album has an intimate, 'homely' feel (I use 'homely' in the British sense, similar to 'cosy'), even though on 'Lone Jack', the final track, the main soloists (Pat and Lyle) once again go for broke and play their heart out.

If you're wondering how it is possible to approach "progressive rock" while starting out from the jazz side (and not approaching jazz-rock from the prog side, as Bill Bruford or Brand X have done), listen to this album. "San Lorenzo" and "Phase Dance" can also be found on Pat's excellent double live album TRAVELS, where Lyle Mays' piano solo sounds more urgent, but PAT METHENY GROUP has greater clarity and immediacy, since it was recorded in the studio.

Why this album has only 3 ratings here is beyond me. This is Metheny in the raw without any synth-guitar at all. Clearly acoustic and electric playing. "San Lorenzo" is nothing short of breathtaking...and the rest of the album is on par. An ECM masterpiece!

At that time, the flow of music that was the main current might have established the music character as Jazz/Fusion for Jazz/Fusion in the 70's. And, the established music had the time that had been actively done by the exchange of machine parts and the musician.

It is said that this Pat Metheny objectively caught a certain Jazz/Fusion in the 70's of the seed. It might have been one point to the main current that had to be able to be said it was reactionary.

The challenge to the music of him who was born in Missouri state in the United States and the technology that cultivates it might be reflected in the tune and there be a part that cannot be caught as music of him indiscriminately original who is when the listener listens to the music.

Of course, "Bright Size Life" that Pat Metheny had announced in the ECM label in 1975 will have been a content that exactly sent an indeed new wind for the item of Jazz/Fusion. Perfection of tune that exceeds frame of Jazz/Fusion. And, the melody with a transparent feeling. And, the height of the quality of ensemble as Trio. Those elements have been succeeded to "Watercolors" announced from "Bright Size Life" in 1977 as an extension of the methodology.

The technology and knowledge for his performance are the well-known facts. However, the fact that has boldly introduced a new element into the concept of Jazz/Fusion. Those elements might have been in the part and the environment of the music that the character and he of him had cultivated.

The flow of which Pat Metheny debuted from work with Gary Burton in ECM is a well-known fact. However, many and the idea of the work to listen with ECM after he debuts are abundant parts and are established. They were one of the situations that worked naturally as agreeing.

His great-grandfather was an immigrant who had immigrated to Wisconsin state at the 19th end of the century. His blood as a pure Norse had been succeeded by the grandfather. It is said that his grandfather is a trumpeter. Flow and element that Pat Metheny produced this album in Oslo in Norway via ECM. And, his until transfered the register to Geffen Record work might have created music high-quality as indeed agreed with those elements. It is not an exaggeration to say that the element to which the performance a new creation is always brought in to the item of Jazz/Fusion after it debuts and with a deep, transparent feeling is taken might agree with his character and situation.

This "Pat Metheny Group" might be one pronoun for Pat Metheny. And, Lyle Mays and Pat Metheny of the keyboard player who formed the nucleus of the music character of this group formed this group in May of 1977. Two people who had gotten acquainted in the Jazz festival held with Wichita of Kansas state in 1976 thought that it was impressed on a music character each other and was going to share. And, Pat Metheny is Mark Egan of the Bass player who was the colleague at the university. And, drum player's Dan Gottlieb joined and the member of this group was fixed. Part where ensemble as band was established from methodology to listen by "Bright Size Life" and "Watercolors" further. And, the technology and the idea of Pat Metheny. They are satisfactorily demonstrated in the debut album of this group.

A transparent feeling is an overflowing melody of "San Lorenzo". And, a variegated sound is made from Lyle Mays. The sound exactly has a transparent feeling. The performance to make good use of Reverb as one of the elements of the performance of Pat Metheny will be able to be enumerated. The performance might often have the impression with a loose tune oppositely with powerful of Ad-Rib with contrasted part. However, the part where the response and motion cohabits doesn't have the sense of incompatibility as a perfection of the tune. It will give the soundscape further by the performance of this group. The tune gradually receives the top from beautiful piano Solo. This transparent feeling might be their patents. And, the melody with nostalgia continues.

As for "Phase Dance", the rhythm of the samba with the guitar is impressive. And, Solo that there is a transparent feeling in the progress of peculiar Chord is impressive. Each musician makes the wave by making good use of fast and slow. Making Dynamics that does while establishing the atmosphere of the tune might be splendid. The sound of the group that doesn't do as a rhythm of the obstinate samba has succeeded. And, the synthesizer that appears in the part of Coda creates a very progressive sound.

As for "Jaco", the group combines from chord of a gentle guitar. The feature on minor chord the flow that syncopation is made good use of. Solo of Bass has put out the element of Fretless well. Ensemble with the guitar and the drum is also splendid each other.

"Aprilwind" will have working of the intro because of the connection to "April Joy". The guitar with the anacatesthesia continues. The sound in which 12- string guitar is made good use of has a very original part.

As for "April Joy", the line of Bass twines round the arpeggio of the guitar with the anacatesthesia. The tune shifts from the theme that does development repeatedly to solo of the guitar. Solo of the guitar might surely understand the tune. The piano twines and the tune faces quiet development again. The sound of the keyboard that appears during the tune is also progressive. The theme flows slowly and hurtles through space.

"Lone Jack" is a tune that Pat Metheny often performs in live. This tune might be a tune of the representative of Pat Metheny. A progressive element by the sound of the synthesizer and the shift to solo are splendid from legato of cymbals of a fast tempo. The technology of the guitar and the processing performance of the sound to Chord are overwhelming. The group continues the dash feeling in union. And, the tune shifts to piano Solo. How Lyle Mays contributes for this group might be understood. Music offers the shape of complete Jazz/Fusion to the element of a little Latin by their original interpretations.

When interviewing it, Pat Metheny was made remarks, "It was Offramp that the sound of the band established". This group certainly receives a reformative part in "Offramp" and one the top is received in possession "First Circle". And, it might surely be their of this debut albums that form the base as a flow of the group.

I have a really unusual story behind how I was introduced to Pat Metheny, so sit back and enjoy!

It all began more than a decade ago when one of my uncles, for some strange reason, decided that kids these days need to listen to some real music and so for my 11th(!) birthday I was handed over 3 LP's from his collection! First of all, who does that kind of stuff?!? It's definitely the most awkward present you can give to an 11-year old kid.

The records I was handed included two Pat Metheny albums Pat Metheny Group, Still Life (Talking) and Frank Zappa's Chunga's Revenge, presumably because it was his least favorite of the bunch. Although my family claims that it was then and there that I fell in love with Progressive Rock, I personally would place that occasion a few years later when I was introduced to King Crimson's debut masterpiece. Still I definitely have a soft spot for all of these three albums and I get really nostalgic every time I hear them. Maybe it's something to consider for all of you uncles out there!

You might be surprised but I've never actually bought another Pat Metheny album since then. Well, I did buy the CD re-issues of these two albums but I just haven't worked up the courage to hear anything else just yet. It has to do with the high expectations combined with childhood nostalgia that I have for anything from Pat and his group.

The music style on this band-titled debut album is soft and smooth jazz music that resembles vintage jazz. It might pass for a light Jazz Rock album but I won't be calling the material here Fusion any time soon. I'd say it's highly likable melodic jazz with a nice groove!

Since this was the first of the three so-called "birthday present"-albums that I listened to, the opening San Lorenzo will always have a place in my heart. It's just 10 minutes of highly likable music that almost fits any possible occasion. I'm actually a bit surprised and ashamed that I don't listen to it as much anymore! Jaco is another performance that slides into pure Jazz-territory while still keeping the nice groove, something that Pat Metheny Group do with such perfection.

Aprilwind and April Joy are almost like a brother and a sister where the latter keeps on the groove from the former and then expands it from there into another melodically strong instrumental compositions. While Lone Jack takes things back to rhythm-jazz territory wonderfully closing the album on another strong note.

I'm really not sure how I would feel have I heard this album for the first time today. This is a part of the reason why I just cannot bring myself to hear another Pat Metheny album. Still I would like to believe that I would have liked this music a lot. It wouldn't give me the added nostalgia that I have for this particular release but I just don't see how anyone could dislike such an excellent piece of music. It might not be the most advanced or adventurous Jazz Rock-recording out there but it's definitely one of the most atmospheric and joyful releases out there!

***** star songs: San Lorenzo (10:13)

**** star songs: Phase Dance (8:19) Jaco (5:37) Aprilwind (2:09) April Joy (8:13) Lone Jack (6:43)

Well what can I say. Not my thing. This is jazz-fusion all right, but very much on the light side. Nothing adventurous at all. If the Mahavishnu Orchestra is Godzilla, then this is Bambi. Nothing wrong with that if that is what you're looking for but a little tame for my tastes. I am not the biggest of Pat Metheny fans but I have heard albums that I like a lot better than this one. If you are into smooth jazz then this may be the thing for you. I can hear that the musicians are talented and all but it's just that I'm not that much into the style. Described as jazz meets Americana but i'm not feeling it. Only the last track saves this from being a one star album for me.