Customer Reviews

Letter From Home

5 star:		(47)
4 star:		(1)
3 star:		(3)
2 star:		(1)
1 star:		(3)

 

 

There is something very spiritual about this record. It seems to sing to my soul more than my ears. I can't explain it any other way than to say that it's a special record and one of Pat Metheny's best studio recorded albums. The song _Dream of the Return_, _Slip Away_ and _Vidala_ are the very best on the record. Pedro Aznar's beautiful vocal arrangements are showcased on these songs. The wonderful _Have you Heard_, Letter from Home_ and _Beat 70_ are also on this recording. Pat Metheny and Lyle Mayes provide some of their most wonderful and inspired musical collaborations on this recording. Eric Jordan's review is far off base. Elevator music, this is not! I highly recommend this album with 5 stars!

The new Nonesuch remasters of the Pat Metheny catalog have a significant, if not incredibly different, sound improvement over the original Geffen CDs. Simply stated, the sound is much "brighter" and clearer, and depending on the tracks, instruments have a better balance, and in some cases stand out better in the mix than the original. Since most of these albums were originaly recorded with exceptional skill in the age of digital audio technology (mid 1980's to present), the truth is that the original CDs can stand out just as good in terms of sound quality. This is not like some remasters of 60s, and 70s albums where the sound difference is huge. With the exception of Song X(X), the remasters feature no pluses. It would have been nice to have some extra tracks, new or restored artwork, PMG in the studio photos, essays or something. So if you are not a PatMetheniac fan and have the original CDs, stick with them. If you have never had the pleasure of having these great works of art, don't wait any longer and get them. This is some of the greatest music ever recorded. Now, if the original ECM releases were remastered...

i sincerely believe what i write below is honest and truthful.

i first heard this CD 14 years ago. loved it then and actually went to see him performed live with his band. in the last 14 years, my music taste changed from classical jazz to pop rock, to latin rock, to brasilian pagode, to samba, to bossa nova, back to american frank sinatra, to tony bennette, back to big band jazz of Duke and Count.... however, yesterday as i accidentally picked this music from my old collection, the music still sounds so fresh and new. it is just amazing that after all my other musical experiences, Metheny's music still stands its quality and depth. there are so many Pat's CDs i could recommend however, this one may be the most balance, most easy listened to and most versatile. you hardly know it was recorded 14 years ago... wow! i feel old.....nonetheless, this is truly great music. high art form i would say.

This album continued Pat's flirtation with the musical flavors of Brazil, and it is readily accessible to a variety of listeners (those who liked "First Circle" and "Still Life" should also like this album). I remember hearing the poppish "Slip Away" on a local radio station and I knew this was an album to add to my collection of PMG material.

While the album claerly has a strong undercurrent of Brazilian rhythms and percussive accents, the songs do have character on their own. Pat, as usual, is in top form. His silky-smooth guitar emits improvisations so melodic that you'll find yourself whistling them in the shower. Multi-instrumentalist and vocalist Pedro Aznar adds to the melodic flavor, and even sings a beautiful Spanish lead on "Dream of the Return" (check out the PMG website for lyrics and translation). Lyle Mays contributes a quirky (but eerily groovy) composition called "Are We There Yet?", which, if you listen carefully towards the end, cleverly incorporates sampled vocals from Aznar's lead vocal from "Dream".

Other highlights include "Better Days Ahead" (a percussion-laden tune with Pat on acoustic guitar) and the delicately short lullaby and title track, "Letter From Home". My only gripe is that Pat and Lyle seem to have run out of song titles for a couple of songs, as they simply named one spritely-sounding tune "5-5-7" for the number of beats per three measure sequence.

This album will stand the test of time, and you will enjoy listening to it ten years from now as much as you did the first time.

This album was very popular when released. The music is very melodic. It was played on Smooth Jazz stations in edited formats (they cut out parts that didn't fit the smooth jazz format). That would make some classify this as smooth jazz. They are sadly mistaken.

This recording is underrated and filled with so much subtlety that the point would be missed by many. Contained here is recording that contains some excellent pieces which are melodic, but effectively convey a vibe, with excellent soloing and arrangements.

Pat's displays a virtuosity in his playing without running away with himself. This recording's influence is world beat. First class world beat seamless woven throught the Mays/Metheny conciousness.

"Have You Heard" is simply one of the best pieces the group has composed and performed. It has aged well over the years. It has one of Pat's very best solos and some impressive vocal work by Pedro Aznar who holds an impossibly long note toward the end. Pedro has to perform these difficult octave leaps throughout and he does so in good voice.

"Spring Ain't Here is one of the pieces where the subtlety factor comes in. Pat's solo here is excellent. He so beautifully embellishes the melody and also makes great use of space. This one has an intangible element for me that I can't lend words to. It so effectively conveys not a relaxed mood, as much as a languid vibe.

45/8 is this short little piece that so effectively conveys a South American feel that you wish that it had been much longer just to see what they would've done with it.

5-5-7 is also is also another elegant piece which has an arrangement anchored by Steve Rodby's amazing bass playing which fuels Metheny's imagination throughout. Pat's lead here is remarkable.

"Are We There Yet/Vidala" is amazing the way they tie a modern electric piece to a folkloric and plaintive piece. They do this seamlessly and to perfection. "Are We There Yet" is for you Guitar Synth fans of Pat's. The interplay between Pat and Lyle is if full force here. It's one of those quirky pieces whose pacing makes it somewhat unique. The segue portion is ethereal.

"Dream of the Return" is unique in that Pat rarely features a vocal with words. Aznar is the composer of these lyrics and they are thankfully, thoughtful. Good lyrics are hard to come by and often in instances where instrumental groups attempt them, they usually are pretty goofy. Not in this case though. This one has that patented tension and releast thing that the group does so well. A moving piece of music.

My one complaint is that Pat tends to use the vocables a tad too much on certain songs like "Better Days Ahead" and "Every Summer Night" when the pieces don't need them at all. Pedro Aznar is a talented multi-instrumentalist. Perhaps one of these other talents could've been lent to these same pieces. He has a very good voice, but there is such a thing as too much of a good thing.

The group showed yet another fact of themselves and of a particular aspect of their exploration of world-beat themes. This one different than the preceding "Still Life (Talking)" and "First Circle" both of which are excellent, which embraced similar but distinct themes.

By far, this is probably one of the finest albums PMG have recorded in its extensive career. I wouldn't be surprised if this work turns out to be a true contemporary jazz classic a few years down the line. Pat Metheny and Lyle Mays deliver powerful solos, some may say too long but personally I can't get enough of them. Technically perfect, they sound "easy" in a very complex set up, musically speaking. "Beat 70" displays one of the best Pat's solos I've ever heard. Lyle plays wonderfully in many tracks but "Better Days Ahead" stands out. Even when this is one of the most "commercial" albums PMG have conceived, there's an ethereal aura surrounding the songs. "Spring Ain't Here" and "Slip Away" are clearly vivid examples of that. Pedro Aznar's voice is a major contribution to achieve it as well as the rock solid work of Paul Wertico, Steve Rodby and Armando Marcal on the rythym section. In simple words; it's hard to believe someone could call this "elevator music". If that, I take this elevator day in day out.

This is the classic, summer jazz that Pat is known around the world for. By this stage (1989), he was well settled into his new label (Geffen) and the Power Station studio. Geffen brought out the optimism in Metheny's music. (If he'd stuck with his previous label, the immaculately germanic ECM label, the album would have had a dreary monochrome cover and probably been called 'Telegram Bearing Seriously Grave Domestic News'.)

This was the last studio album which stuck to the formula established with 'First Circle': nothing too aggressive, delight all the way, plenty to attract intelligent rock fans, encased in attractive Latin rhythms.

The album kicks off the wonderful ensemble piece, 'Have You Heard'. This piece seems to be the favourite Metheny tune covered by brass bands. It's been covered by European youth orchestras, it's been covered by the Bob Curnow LA Big Band. It transposes to these instruments really well.

Pedro Aznar was back for this album, bringing his own gorgeous vocals to the 100% classic 'Slip Away'. Why was this never released as a single??

This is an excellent place to start in the Metheny portfolio -- a mid-term high spot in the career of the most important popular composer in the last quarter of the 20th century. Buy this, and then if you play piano or guitar, buy the extraordinarily-good-value Pat Metheny Songbook, which has nearly all these tunes in.

I'm writing this review specifically for the remastered versions of Still Life Talking, Letter From Home, and Secret Story. Chances are you probably already own these and are wondering about the new versions. If these are some of your favorite albums, as they are mine, then you can't go wrong. Of the 3, SLT and LFH show the biggest improvements. They both have a much wider soundstage and improved depth with a much cleaner high end as well as powerful bass and clarity. I have listened side by side with the originals and the difference is VERY noticeable. If you have a good system these are fine recordings. (No Ipods please.)

However unless you are die hard Metheny fan, Secret Story is not that great an improvement. This was already a great recording, especially for 15 years ago, and side by side with the original it's hard to tell. In some areas slightly. Enough to warrant the cost of a new CD, well maybe. The extra bonus CD material is mediocre at best and even though I'm a huge fan I probably could have lived without it. It's just OK. Nothing stellar here.

Bottom line: SLT and LFH? Yes, definitely an improvement. Get them. SS....well, maybe if you're a huge fan. (Or if you've never heard this album in the first place. Some of the best music ever made. Period.)

I can only use one word to express the feel on this incredible c.d. ENCHANTING!! Pats music is beyond explanation...it has a deeply spiritual feel which is ethereal.These chaps are the best musicians around, they don't get any better!
Practically every c.d he has done takes you to another zone,they are all like seperate "soundtracks to life on planet earth" ...but the Brazilian feel of this c.d and its partner, the equally brilliant "Still Life Talking", is breathtakingly superb! Every track on this c.d is stunning, although I first heard the track "Slip Away" back in 1992 and I felt myself going into a trance like state, carried away by its sheer beauty.
All the musicians on his c.ds are SO talented.
This is one guy who equally isn't afraid of being different and recording something as diverse as "Zero Tolerance For Silence" which, although it seemed strangely avant-garde, just was another extension of his personal character.
Pat is like a talented chameleon. You have to be brave, at times, to follow his changes but the journey is really worth the effort!

When listening to this album,it takes you to an adventure that is beyond words. It is soothing to ones soul and makes you discover something that can only be felt and not spoken. I highly recommend this album if you are in the mood for something out of the ordinary.