PAT METHENY GROUP: STILL LIFE (TALKING)

This recording builds on the musical styles established with their "First Circle" recording, featuring on some tracks the use of voices (generally without recognizable lyrics) as instruments. It's very uplifting, pleasant music to enjoy, and can equally delight the listener who wants to focus on the intelligent construction of complex music, and also can serve as very pleasant background music for those who prefer not to concentrate on the music. As always with the recordings of Pat Metheny, the band is very tight and the technical skills of the musicians are top-notch. I consider the music on this album to be creative, cutting- edge music for its time. It is NOT the insipid blather of so-called soft jazz, although simpletons will no doubt mistakenly lump it in with that category.

Munuano (Six Eight) begins quietly and slowly builds; it is a song that reminds me of the glorious "First Circle" title track of their earlier album. It's constructed around a repeated melody constructed with a simple piano track and tonal vocals, with other accompaniment building on it, including some good guitar licks.

So May It Secretly Begin is a laid-back jam that meanders delightfully through the talents of the musicians; while not exceptional, it is a solid and most enjoyable experience, and one of my favorite tracks on this album.

Last Train Home is perhaps the track from this album that has received the most play, at least it's one I've heard on jazz radio on numerous occasions. It's dominated by Pat's guitar synthesizer and to me evokes the image of the rhythm of a dependable train dependably carrying its passengers homeward, if you can imagine that in music.

(It's Just) Talk is has a lively latin feel to the rhythm. The very well-arranged lead melody is a mix of electric guitar and voicings, and it features a splendid piano solo beginning at about the 2:00 mark that displays the virtuosity of Lyle Mays. One of my all-time favorite tracks from the PMGroup.

Thirdwind has a lively beginning and nice melody, and includes some nice electric guitar solo beginning at about the 1:35 mark. There are percussion and piano passages that are quite nice, and the vocals are used with nice effect. Overall it's a good tune, but at about the 7:00 mark, synth guitar takes over and dominates the rest - I find it to be rather grating in how it's used here, and it definitely damages the last 1:30. Note this certainly reflects my disdain for the scraping-across-the-chalkboard feeling I get from the synth guitar.

Distance is short, haunting song by Lyle Mays, primarily synthesizer, that provides an interesting change of pace to make the transition in mood between Thirdwind and the concluding ballad.

In Her Family brings the album to a close. It is a soft piano ballad that leaves the listener in a relaxed, mellow mood, and is very nicely arranged and orchestrated.

If you're looking for upbeat, get yer ya-yas out jams, this isn't your kind of music. If instead you seek thoughtful, creative and engaging music for your brain, you might really enjoy this work. It's not my favorite Pat Metheny Group album, but is certainly good music and worth adding to your collection if you like PMG. I rate it a solid 4 stars for the listener who appreciates creative and engaging music.

Let there be peace.

Pat Metheny here made a VERY refined sound recording: the often very ethereal atmosphere is palpable, although the tracks are quite loaded. The restless, fast and delicate cymbals patterns are delightful. There are many African rhythms & melodies, especially on the "Third wind" track. Metheny's electric guitars are also very refined, fast & melodic. Lyle Mays' keyboards are more atmospheric and more in the background than usual. His rhythmic piano is complex, refined and fast, as always; the background floating keyboards sound like some light orchestral arrangements, and some other more melodic ones sound like graceful flutes, like on "So May It Secretly Begin". Mark Ledford's omnipresent typical chant is perfectly synchronized with Metheny's clean, fast and brief electric guitar notes, like on "Minuano", "Third wind" and "Talk": this is the sound trademark of Pat Metheny. The excellent electric sitar on "Last Train Home" is another element that makes Pat Metheny's stuff easily recognizable. The "Distance" and "In Her Family" tracks are inseparable: the first one rather sounds dramatic & perturbed: it would be perfect for a soundtrack movie, as reveal the Lyle's awkward floating keyboards. "In her family" is made of perfectly synchronized delicate piano and acoustic guitars: it is once magnificently intensified by Lyle's majestic piano & floating streams of keyboards: just hear the progression involved! All the tracks are excellent, and this album is definitely among his best ones.

Rating: 4.5 stars

Sure, Latin jazz had been around for ages when the Pat Metheny Group released Still Life (Talking) in 1987. However, Latin jazz never sounded so modern and yet so primitive at the same time. This unique recording is one of the finest in the PMG catalog, and it makes the listener take notice of the true power of the creative forces within PMG, most notably Lyle Mays, whose piano work on this album is simply astounding. It also features some of the most melodic and imaginative guitar work of Pat Metheny.

Highlights from this album include "Minuano (Six Eight)". A dynamic opener, it hits the listener with beautiful vocal and keyboard swells in the first half with Metneny's unmistakable guitar sharing the melody with vocals in the second half. "Last Train Home" features Metheny's sitar-like guitar synth over a railroad rhythm. Perhaps the most visceral piece on Still Life (Talking), it conveys a true longing for home while riding the rails. Beautifully written, arranged, and performed, it is a PMG masterpiece. However, as good as "Last Train Home" is, things get even better with the bombastic "It's Just Talk". With a soaring vocal melody and a sexy Latin rhythm, it is a fun tune to listen to. Lyle Mays' exquisite chord-laden piano solo shows why he may be the best jazz pianist not named Tyner, Monk, or Jarrett, a point driven home with Mays' beautiful closer "In Her Family". "Third Wind" shows the primitive side of PMG's Latin jazz with lots of rhythmic complexity and a fantastic Metheny guitar solo to boot.

While not as lauded as other PMG albums, Still Life (Talking) shows a band at a creative high point. Furthermore, they had something to say, and they said it loudly. For fans of PMG, it is essential, but for fans of jazz and Latin jazz in particular, it is highly recommended.

The time that shifts from the ECM label to the Geffen label for the history of the music of Pat Metheny might be able to be enumerated as time of an important revolution. The existence of PMG that he was run side by side with the work of Solo and done might be another face of him.

There were exactly various ideas in "First Circle" in 1984 that had been announced by ECM. Many of tune that exceeds frame of Jazz/Fusion and is done. Element of country that becomes base based on environment where he in addition to element of Jazz that he originally has grew up. Or, the theme at which PMG aims. And, a progressive element a few in addition to the composition of a grand tune. And, the element of the music seen in the southern hemisphere gradually taken from the album. It is likely already to have experimented on these elements on business with ECM.

His thought that he had transfered the register from ECM to Geffen was true with indeed interesting deep. There might have been a lot of ideas as PMG that had to be done. However, "Song X" that had become the first work as Geffen label in 1985 when the work at this time of him was considered will have been an important work for him. And, the flow might have been a natural act at the same time as his idea's at this time naturally appearing.

Competing with Ornette Coleman where it was existence of the yearning for Pat Metheny might have been also natural as the act. The same thing will be able to be said to it for the content and the passage of the work. However, the idea as the work of PMG. Or, it flows concerning transfering the register label. Or, the idea at which PMG at that time aimed appears remarkably indeed in the work at this time.

Flow that multiuses part of chorus in addition to composition of grand tune had already been done by "First Circle". Or, the element of the tune with one microcosm that stretches from the music done with ECM to the outside. The performance that catches a chorus and an acoustic part though Jazz/Fusion is assumed to be a base might succeed. A grand composition of "Minuano" might surely draw the flow of "First Circle". Or, the soundscape of "Talk" gives the impression to which the width of PMG has been surely expanded. The idea where PMG originally has "Third Wind" is developed as a group. The chorus's introduction has succeeded. These elements might surely have been established as a route of PMG.

"Song X" would have been a natural act if it was thought that it had contrasted element for its.. Pat Metheny. this albumThe act of telling impression and warmth to the listener might have been a theme that had to do for PMG at this time.

This was the second of the two Pat Metheny Group records that I received on my 11th birthday. The ordeal I'm referring to was described in my review of Pat Metheny Group's debut album that I suggest you read up on before taking on Still Life (Talking).

Just like the debut album this is another set of soft and smooth jazz music performances but as the album cover suggests there is a slightly new twist to it all. I'm talking about the Indian chant-styled vocals and although, after reading a few of the other reviews, it seems that the style was already introduced on the group's 1984 release First Circle I've never heard that album so I just have to take their word for it.

Minuano (Six Eight) kicks-off the album with an unexpected almost Supper's Ready-like acoustic intro but the tone shifts with the introduction of chanting vocals and the piece goes into the more familiar light Jazz Rock style that's expected from Pat Metheny Group. I really like how the tension slowly builds up until it converts into the jazz-sounding guitar performance from Pat Metheny.

So May It Secretly Begin is more of a traditional Jazz Rock composition with some really gorgeous melodies. Still it is Last Train Home that has always grabbed my attention and gave me strong feelings of nostalgia every time I've listened to it over the years. The whole piece makes me think of a long journey by train and I always think of this composition when I return from a trip. Lately my transport of choice has been the plane but even then, every time the plane lands, I hear this distinct composition in my head as if it says welcome home! The instrumentation arrangement features a train-sounding drumbeat with smooth and almost minimalistic guitar interplay.

After another two up-beat instrumentals the album finally gives us two mellower moments right towards the end. Distance is an almost ambient like compositions that serves as an introduction to In Her Family. This is another semi-nostalgic performance that brings on some really fond memories. It ends on a strong almost epic melodic climax and then fades away towards the end. The whole performance sounds almost like a Tony Banks composition which makes it my second reference to Genesis in this review!

Just like the Pat Metheny Group debut album, I'm really not sure how I would feel have I heard this release for the first time today. There's just so much nostalgia embedded into these compositions for me that I honestly can't be critical about it all. As I said previously, it might not be one of the most advanced or adventurous Jazz Rock-recordings but it's definitely has its heart in the right place which makes it into one of the most atmospheric and joyful releases out there!

***** star songs: Last Train Home (5:41)

**** star songs: Minuano (Six Eight) (9:27) So May It Secretly Begin (6:26) (It's Just) Talk (6:17) Third Wind (8:37) Distance (2:45) In Her Family (3:18)

This slick, polished, and refined record by Metheny features outstanding playing and performances, but comes with a sterile vibe whose appeal will largely depend on the personal taste of the listener. At it's best, Still Life is beautifully conceived and artful... at it's worst, it's pure syrupy-sludge dredged from the bucket of smooth jazz radio airways.

"Minuano" opens the album with a mellow, nuanced feel, with delicate textures and melodies building to a trademark Metheny guitar solo. His playing is dexterous, canny, and mostly vacuous due to a heavily processed sound. His gentle tone is easy to listen to, but difficult to latch on to because the production doesn't allow space for anything especailly engaging.

The song builds to a terrific high, giving way to a fast moving rhythmic break. I performed this song in high school jazz band, and seeing it on Still Life's track listing was a big reason I picked up this album, but I must say that the big band arrangement of this song is superior; however, the strength of the songwriting, playing, and feel to Metheny's version is still great, and the variety of tempo, dynamics, and instrumental work makes this a stand out track.

"So May It Secretly Begin" and "Third Wind" keep up this high standard of quality, delivering ambitious structure and playing. The other tracks are underwhelming, being either too airy and incomplete (in the case of the two closing tunes), or too insipid to mean much at all (like "It's Just Talk", whose Caribbean feel sounds like something from a recent Super Mario game). Still Life often uses a latin feel, but in sort of a "Sandals Tourist Resort" kind of way; I can't escape the notion that Metheny is playing it incredibly safe-- and that the energy, tone and production of this album plays very much to a white suburban audience.

Most of Still Life flits along without drawing one's attention, making it acceptable background music and not much else. Metheny's playing is, in my opinion, largely overrated, and probably only for fans comfortable with true jazz (rather than PA's fusion genre).

Songwriting: 3 Instrumental Performances: 3 Style/Emotion/Replay: 1

An album filled with some of the most gorgeous, danceable, sing/hummable instrumental jazz fusion songs EVER! I remember playing this tape every time I got in the car for a long drive (which was quite often in my late 20s) and just CRANKING everysong--singing the melodies at the top of my lungs throughout each and every song--especially when the vocalists (Armando Marçal, Mark Ledford, and David Blamires) chimed in. And then I got to see them live in concert at Meadowbrook on this tour. As I've told many people over the years, I never had so much fun dancing in my seat, playing my legs for drums, and singing the wordless vocals at the top of my lungs from row 26 at any concert in my life. And I would argue that the lineup I saw performing that night could stand up shoulder to shoulder with any instrumental ensemble I've ever seen--and that includes Yes, Crimson, McLaughlin, and Di Meola with Jan Hammer.

Five star songs: the amazing epic, 1. "Minuaño (in Six Eight) (9:28) (20/20); 2. "So It May Secretly Begin" (6:25) (9.5/10); "It's Just Talk" (6:17) (9.5/10), the wild and rollicking Brazilian rompus, 4. "Third Wind" (8:37) (20/20); the hypnotic 3. "Last Train Home (5:41) (8.5/10); "the atmospheric space soundtrack, 6. "DIstance" (2:45) (4.25/5), and; the stunningly gorgeous finale, "In Her Family (3:17) (10/10), which became anthemic to me as it inspired a poem that I wrote to become its lyric.

A true masterpiece of jazz/world fusion from a collection of some of the finest musicians to ever grace the analog, digital, or acoustic airwaves. Bassist Steve Rodby and drummer Paul Wertico are gods!

This album probably best describes the sound of the Pat Metheny Group, and many PM fans would say it is his best ever (it is not my very favourite, but close). While categorized as 'jazz-rock fusion' here in PA, I would actually characterize the PMG sound as "progressive jazz", as there is not much 'rock' here (it is not like the fusion of Mahavishnu Orchestra or Return to Forever). However, it IS progressive, and really excellent. Minuando, the first track on this album, is perhaps the best example of such progressive jazz. Complex time signatures and melodies, counter-intuitive key changes, and diverse changing instrumentation are key features. But at the same an intense musicality. The rest of this album reflects a diversity of styles, ranging from such progressive jazz to regular jazz, very quiet ethereal music, rapid-fast guitar solos, and very beautiful acoustic-guitar ballads. In addition to Minuando, PM's song Last Train Home is one of PM's most iconic and requested compositions. The latter is not really progressive, but simply a beautiful evocative melody over a somewhat unique rhythm (a snare beat resembling the clickity-clack of a train). While this album is not my very favourite (the self-titled PMG album takes that spot for me), it is nonetheless up there with the best of PM, and would probably serve as the best introduction for those not familiar with PM's music. Each and every piece on this album is really excellent, not just good, and the album flows exceptionally well. Even though is is highly produced (I prefer my music more raw) whenever it ends I still always want more! I give this album 9.2 out of 10 on my 10-point scale.