PAT METHENY

The Pat Metheny Group, co-led by guitarist Pat Metheny and pianist Lyle Mays, released We Live Here in 1995. This instrumental jazz fusion album contains plenty of interesting music and remains a good release despite the handful of faults it has.

Virtually all of the music on this record is highly accessible and will appeal to casual fans of Metheny who enjoy the more mainstream side of his catalogue but may have difficulty digesting the music that is a bit more "out there". Just because the music is accessible doesn't mean it's bad, though; almost every track has a lot to offer and is rich with good ideas, even if there are times when the music gets a bit too smooth for my liking. Metheny and Mays' songwriting skills, as usual, do not disappoint, and the album is packed with lengthy, musical melodies and interesting harmonic structures. This time around the Pat Metheny Group have also added a healthy dose of world music influence to their usual blend of jazz fusion.

Given the wealth of talent in the Pat Metheny Group's lineup it's no surprise that the playing on this album is exceptional. As expected, Metheny's guitar and May's keys form the core of the band's sound and provide some of the album's best solos. The fantastic piano solo and guitar synth solo on the track "To the End of the World" are highlights and really showcase the musicians' improvising abilities. While the other members of the band definitely don't get as much time in the spotlight, their contributions are invaluable to the atmosphere of the songs. Some added percussion, backing vocals, and the occasional trumpet part add a wealth of texture to the music.

While most of the instruments here have great parts, there is one exception: the drums. The intricate and responsive drumming expected of Paul Wertico is nowhere to be found on this release, instead replaced by a series of static and fairly basic drum loops. This was a very poor choice and in many ways it kills the music, making the songs sound like cheap muzak when in reality the compositions have a great deal of integrity.

Although this album never quite reaches greatness it will still please most listeners with its well-written melodies and a host of great solos. Despite the banal drum loops and the occasional section that is a bit too smooth, We Live Here does come through as a good album. While this record is recommended for fans of the Pat Metheny Group - and crossover jazz in general - some of the band's other, more ambitious albums may prove more rewarding.

More than two decades ago, a good friend, a lover of Jazz, recommended me to listen to Pat Metheny Group. The Jazz is not my greatest delight.

Get Still Life and later We Live Here, different and fairly enjoyable albums. So also heard others with good feelings.

But The Way Up is great, magnificence. Very progressive, energetic and imaginative. Peaceful and virtuous. Elegant and dynamic. Nothing is superfluous and nothing lacking.

The music goes through different landscapes, and never bored.

The melody of Opening, which is repeated in Part One, is great. Part One will grow from that tune to just over six minutes. Then Pat acoustic guitar starts another section that crosses different transformations to the end.

Part Two is sublime, with an overwhelming end. And Part Three begins with the classic sound the group. From the tenth minute, the music moves in a quiet and relaxing sound, which is diluted slowly.

On The Way Up, Pat Metheny - and, of course, the Pat Metheny Group - displays an exceptional mastery of a wide range of jazz fusion styles. The album slips in more jazz-leaning moments reminiscent of early fusion works by Miles Davis or Weather Report, more firey playing following the precedent set by the likes of the Mahavishnu Orchestra, and moments of playfulness which remind me of Canterbury scene groups like Hatfield and the North or National Health.

That said, this shouldn't be mistaken for a box-ticking exercise in nostalgia; the album has a thoroughly modern sound, reminiscent of recent work by the likes of the Esbjorn Svensson Trio, which recontextualises jazz fusion techniques into new compositional structures. In terms of tone and aesthetic, things are generally more mellow and gentle than the harder-edged fusion outfits of the 1970s - again, a point the album has in common with works from the Canterbury scene - so if you're after something with more bite it might not appeal, but otherwise it's an excellent choice for jazz fusion listeners who want to convince themselves that there's still something novel to be done in the genre.

9/10

Really, I can understand all the fuss about this album. I mean, is all about ambition, is not it? The crowning achievement of a long career, over thirty years as one of the best jazz guitarists of our times. And then, in 2005, Pat Metheny decided to make this magnificent work, which mixes fusion, soft jazz, and many scholarly influences of progressive rock, all in one song of 68 minutes.

Yes, reader. 68 minutes. Ah, but do not worry, it is subdivided into four sections (like a true epic prog or a symphony) ... whose durations are respectively: 5, 26, 20 and 15 minutes. So in the end the music is great anyway. But, unlike other epics that feel just like a bunch of individual songs without a connection "real" (see The Incident), here's a real flow between the sections, so that the feeling of being up listening to a single song is not lost when going from one section to another. This is one of the greatest triumphs of pat on the Way Up.

But that's not all. All interaction between the musicians ... This is beyond my comprehension. There is no one in the background. Unlike typical guitarists exhibitionists who take the glory for himself, Pat Metheny really gives space to each of his companions to have their moment. There harmonica solos, trumpet, guitar, piano, drums ... Like I said, no musicians in the background (this musical construction reminds me of Steve Hackett, who always took a similar stance in his albums, allowing space other musicians).

And do not think the executors of The Way Up are disqualified, oh no! These are brilliant, masters at what they do. Starting by the Pat Metheny. As he plays a variety of guitars, one realizes how much is diverse. But no deadly riffs (which is not even a feature of jazz): everything runs so brilliantly sweated and melodious. Carefully he gets quieter passages (which are where members have the opportunity to shine in their respective moments) sections with more bombastic, and even they do not have anything explosive. Soft jazz, after all! I must also mention the work of keyboardist Lyle Mays, and contributing much to the overall sound of the album. There are some passages of piano here that make me shiver. Also Steve Rodsby, which alternates between the low (I admire his moment with the fretless bass) and cello. There are several other musicians to mention here, but I must mention the drummer Antonio Sanchez. He does the typical work that I so admire in jazz, the ability to go beyond the simple compass to explore sounds innovative and highly complicated, the kind of thing you simply can not learn, that comes from within your soul. Although he does a moderate job and nothing bombastic, convenient to the sound of the album is truly a highlight.

4.5 stars, rounded up. A wonderful work, beautiful to hear, able to emerge and cause sensations such deep impressions as positive. He represents everything I love about jazz and was looking to enjoy; effort and cohesive integration between the musicians, the ability to challenge and go beyond the commonplace, explore new sounds, new possibilities. Congratulations to Pat Metheny and his band mates to achieve such glory.

The is a soundtrack to a movie by the same name based on a novel by Jane Hamilton. As such, a review of this album must take into account the restrictions imposed by a soundtrack format. The story is set in the midwest and I believe that because of this Pat has a connection with it that is uniquely his and transpires throughout the score. The score consists of a theme and variations. The main theme is initially presented by solo acoustic guitar and accompanied by a chamber orchestra. The melody is hauntingly beautiful and sonically lush. The theme is expanded upon over the next 6 tracks. Subsequent short tracks follow the dramatic storyline and the main theme and secondary themes come and go. The main theme is gloriously recapitulated in tracks 26 and 27 in unique PM style. If you appreciate PM's clean acoustic guitar playing beautiful melodic variations you will really enjoy this album. It is readily accessible but may seem repetitive to some. It is a soundtrack...but one that can stand alone on it's musical merit even if there were no movie to go with it. 4 stars.

What can I say? I was a little cautious about the fact that Pat Metheny plays on all the instruments in this album, but it seems to have worked out just fine.

The musicianship on average is competent at the very least, the drums being probably the least remarkable - which is fully compensated by the excellent guitar work.

The compositions are extremely well balanced: rich in texture and sound, but still fluid and smooth-flowing; complex, but not crowded; slightly out-of-focus in a cute dreamy way, but without any blurriness or smudginess ... in short, a great professional accomplishment that has certainly exceeded my expectations. What pleasant music to listen to!

I would give it 4.5 stars, but since there isn't such thing, I will have to round it down to 4?

The more I hear of Pat Metheny the less sure I am of what kind of artist he is. I realize that I'm catching up with most of his albums decades after they were released and, therefore, they're bound to be dated to some extent but I still have to call 'em as I see 'em and they tend to run the gamut from intriguing to insomnia-curing. My earliest exposure to his aural art came in the form of his partnership with keyboard wiz Lyle Mays that culminated in 1981's exciting "As Falls Wichita So Falls Wichita Falls" album. By contrast, his namesake group's '84 offering, "First Circle," is as boring as watching paint dry while the very jazzy "80/81" record is so complex at times that it makes my head spin. So who is Pat Metheny? After listening to "Letter from Home" several times I still have no definitive answer to that question. Let me make this clear, though. Just because I don't cotton to everything he produces doesn't mean he's not an extremely talented musician. He's a monster guitarist. Period. The bottom line is what emotions his music elicits in the listener and I can only speak for myself in that regard.

The disc opens with "Have You Heard." Pat and his merry men had been dabbling heavily in South American flavors for years so it's no surprise that a lively Latin aura surrounds this song, setting the tone for what's to come. Metheny zips all over his fretboard as if to flash his impressive credentials up front and then Lyle Mays injects hot pizzazz into the final section. It's a great way to start an album. "Every Summer Night" is next and it's a light jazz tune that alternates between 4/4 and 6/4 time signatures seamlessly. It sports a very elegant atmosphere but it's also quite predictable. If not for the outstanding solos by Pat and Lyle it would've been branded as mall muzak. "Better Days Ahead" is contemporary, Sergio Mendes-styled Brazilian fare that passes without making any impression on me at all. "Spring Ain't Here" follows, a moody number they dedicated to Stanley Turrentine. It's a very subtle piece of music and they keep it low key for the full seven minutes. I'm beginning to think that Metheny's association with Mr. Mays is the best thing that ever happened to him because the stuff I like most is the stuff Lyle either wrote or helped to write. "45/8" is a blink-and-you'll-miss-it glimpse of festive Rio that's over in less than a minute whereas "5-5-7" takes a little more time to unfold. Mays' synthesized whistle effect gives this relaxing song a breezy vibe. Pat's guitar ride is smooth as silk but the track morphs into something much more fascinating when Lyle takes over and changes it into a flowing fantasy of musical colorings. He is truly the progressive thinker of the bunch and he makes a huge difference.

An up-tempo Bossa Nova pulse drives the perky "Beat 70" relentlessly. The piece features a clever accordion melody that gives it a unique aspect but it's the fluid piano and guitar leads that I find most gratifying about it. Percussionist Pedro Aznan adds spice to almost every cut while also serving duty as the band's part-time vocalist. "Dream of the Return" is a lovely ballad that he contributed Spanish lyrics to and, while it's romantic and all, it's a tad too mushy for my tastes. Perhaps if I was in seduction mode it would come in handy but those days are long gone nowadays and it just makes me sleepy. Speaking of Lyle Mays, however, his "Are We There Yet" is the finest tune on the record. It has a funky but wonderfully quirky and complicated melodic foundation that not only captures but steadfastly holds your attention from beginning to end. Mays' synth solo is scintillating before he gracefully transforms the piece into an ethereal soundscape that's as deep as the trenches of the Pacific Ocean. It's hypnotic and well worth the price of admission. Aznan's "Vidalia" follows. Its mysterious intro leads to his lonesome singing over a semi-tribal drum pattern that is reminiscent of what Peter Gabriel was investigating in that era. It's all a bit strange here and there but I do like its sense of adventure and the group's collective courage to go where it leads them. "Slip Away" adopts a peppy pace that's semi-inviting but the song's glossy veneer is too slick for me. I know what they're doing isn't child's play but I always hope to be surprised by something that pops up along the way. Unfortunately, nothing does on this one. Glad to report that they end on a classy note. "Letter from Home" is a gorgeous, soothing piano piece that Lyle presents with quiet but powerful passion.

This album ended up winning the Grammy for Best Jazz Fusion Performance at the 1990 awards ceremony, the same trophy the Pat Metheny Group had garnered for each of their three previous discs, so it's obviously held in high esteem by many who know a lot more about jazz fusion than I do. All I can tell you is that it is immensely better than the dull-as-dirt "First Circle" and has moments of greatness to savor if you are patient. Some of it is overly tame yet it never stoops to patronization. South American-tinted jazz can grow tiresome for those who like to be pleasantly shocked from time to time but the band tosses in just enough imaginative detours to keep it from slipping into Exotica territory. 2.7 stars

One of those few cases where you regret that PA rating system does not allow zero stars. Some hardcore avant-garde fans might say that this is sonic art (the CD came with an endorsing sticker quoting Sonic Youth's Thurston Moore saying "(?) a new milestone in electric guitar music (?) a challenge to the challengers"). Sorry, to me it's just noise.

Having enjoyed much of Metheny's output to that date I purchased this album without any reference when it came out, and after one or two bewildered listens it has remained gathering dust in its shelf for 18 years. I listened to it twice again before writing this review and my opinion has not changed.

A theory is that Metheny had to make one more album to complete his contract with Geffen and he delivered this as a way of saying "scr*w you". Personally I find it unlikely that Geffen would be so naïve as to release it unless they also wanted to stop their bond to Metheny quickly at any cost. Metheny of course denied it and argued that this was the music he felt like doing, in his words "that record speaks for itself in its own musical terms. To me, it is a 2-D view of a world in which I am usually functioning in a more 3-D way". Whatever that might mean?

What we have is an album recorded only with guitar, 98% electric with heavily distorted or at least crunch sound and only some acoustic guitar on the last "Part 5". We could say it's just continuous noise improvisation, the only fact that prevents me from making such a statement is that for the most part the guitar is overdubbed in the 2 channels and the fact that both channels have a more or less synchronized and more or less "harmonic" (take the expression with caution since a lot of it is dissonant) coordination confirms that he had some kind of a score. I can appreciate that it's not just wild pointless improvisation but a deliberate recording.

Some segments are bearable and can remind of Robert Fripp's most experimental music (particularly in "Part 3") or even Brian May's famous delayed solos (in "Part 2"), and "Part 5" with some acoustic guitar can sound a bit more melodical, but in general it's extremely hard for me to stand this album from beginning to end.

Not even for Metheny completionists, only for extremely hardcore avant fans.

2.5 stars really!!

Well if you're not impressed with the general lack of energy level of the PMG in studio and the systematic use of those horrible synclaviers, your hope was to go for a live album and Travels might have looked like a solution?. Yes I said "looked" and not "sounded", and indeed the live concert stuff sounds just like the studio stuff, which means energy-less and to be quite honest, just as boring and bore the exact same line-up. OK, ECM jazz was rarely my thing, but by the 80's, it was sounding a lot like elevator or supermarket music, and often the PMG was rather close to it, but maybe a tad more boring than that dreaded category. Released just after Offramp, it only contains the opening track Are You Going With Me, and to be honest, it's right up the studio alley it was recorded in?.. Boredom Impasse (that's not a track name, but the should-be title). The rest is really not much better, suffering from the use and abuse of those hate-worthy synclaviers plaguing that dreadful early 80's era. Indeed, can one get more sleep- inducing than the new-agey The Fields, The Sky

Only a few tracks do pull their aces timely in the game, and San Lorenzo is one of them, and the title track also seems to shake the general torpor of the set it had sunk itself into. What's always inducing in error in these kind of live endeavours is the recorded public applause and reactions, clearly in this case recorded in the crowd itself, rather than the soundboard, so it appears overzealously appreciative, probably inducing more excitement to the auditors than the music itself.

Based on a XIXth C instrument (or should we say a battery of instruments) the present album is the culmination of Metheny's fascination with this gizmo, and this solo album is a bit of his holy grail. Indeed, between pianos, marimbas, vibes, tuned percussions, guitars ad all kinds of self-made gizmos (including two bottle blowers), the principle is to have only one operator handling all of them at the same time in only one take. A rather impressive performance in itself, not totally devoid of technical interest, but if the music being performed is average, then the value of the experiment is almost pointless. And to be honest, besides the prowess of playing everything by Metheny himself on the album (I mean this is the truest meaning of a solo album, since he's the only one appearing in here), there isn't that much interest, because sonically-speaking Orchestrion doesn't sound any different than most of his other albums, beit the group or other solo ventures of his. In a way this kind of venture is more of an engineerial feat than an artistic one, because on has to actually build the whole gizmo, if not from scratch, at least in linking the instruments via a series of electrical relays to allow the solo operator to command all sonic tools concerned.

Ok, if you're a fan of Metheny's music, there isn't much doubt that you'll enjoy the present, since it's more or less the latest little brother in his overall oeuvre. But this writer hasn't really been a fan for quite a while, and the charm doesn't work much, if at all. Actually another small technical prowess is to develop the typical snoozy ECM sound on another label, and this is Nonesuch-ally achieved. Soooo, let's give it half a star for the pictures and explanations in the booklet (though they could've been better), but giving it more than an average three star would also be unfair, because the sonic contents are nowhere as groundbreaking as the technique it used. And most important, there are no hints of those horrible Synclaviers that were one of Pat's trademark for so many years? An honest release, but nothing that will revolutionize the jazz world, despite the impressive technology developed for it